41 stories by "Karl Levett"
In this amiable romantic comedy, a Christmas gift from Steven Banks, a little more "naughty" would enliven the prevailing "nice."
Thomas Kilroy's absorbing picture of Lord Alfred Douglas, Oscar Wilde's lover, is a must for Wilde fans, even if Oscar remains offstage much of the time.
Playwright Susan Mosakowski's imagination of a contemporary Abelard and Heloise story unfortunately strains credulity.
Kyoung H. Park's new play about the trials of the Korean immigrant in America is too heavy-handed, with dialogue awash in soapy clichés, to sustain interest.
In Belinda McKeon's new play, set in the remnants of a Brooklyn restaurant, the menu is decidedly limited.
Vaclav Havel's 1965 absurdist comedy of bureaucracy run rampant in a Communist regime has lost a measure of its punch in the intervening years.
Rachel Bonds' new drama, which speaks of damaged lives, is strong on sensitivity but weak on structure. Still, she's a playwright to watch.
Susanna Hamnett bravely introduces Shakespeare's "King Lear" to younger audiences, but the results are mixed.
The DNA of Anna Ziegler's new play reveals an engrossing story by a talented writer. This tale of a lone, wondrous woman amidst a casual conspiracy of males makes for compelling theater.
This exercise in absurdism at the Under the Radar festival is over the top and wholly diverting.
John Paul Murphy's two-hander take on contemporary Dublin lowlife—heavy with words, light on action—is almost redeemed by two sterling performances.
The appeal of Conor McPherson's one-man play is in its value as a prologue of uncertain promise to a playwright's remarkable career.
This moral fable of contemporary Ireland—written, performed, and accompanied at the piano by Raymond Scannell—is a story that more often bewilders rather than informs.
"Himself and Nora," a NYMF offering, is a conventional but intelligent James Joyce bio-musical by Jonathan Brielle, with Matt Bogart as the famous writer.
David Adjmi's "3C," a quirky deconstruction of a popular sitcom presented at Rattlestick Playwrights Theater, is a psychotic version of "Three's Company."
The two nights of short plays that comprise "The East Village Chronicles," part of the East Village Theater Festival, demonstrate the form’s limitations.
Dan Gordon’s “Murder in the First,” starring Chad Kimball as a condemned murder at Alcatraz, is a feel-good documentary rescued by an engrossing production.
This sketchy play by Susan Charlotte on serious issues that women face is given an anemic treatment, despite the talent of two of its protagonists.
"Pinocchio's Ashes," an absurdist play overstuffed with moral fiber from Scandinavian American Theater Company, introduces Danish scribe Jokum Rohde to NYC.
The Acting Company’s modern-dress “Julius Caesar” is a speedy, well-spoken Shakespearean production, strong on clarity but less so on emotion.
Theatre for a New Audience's Wild West take on Shakespeare's "The Taming of the Shrew" has a rollicking style that can't accommodate the "taming" itself.
American Bard Theater Company's production of the rarely seen part-Shakespearean "Pericles" gets high marks for invention but lower for spoken delivery.
Joyce Hokin Sachs' engrossing play about the Bloomsbury Group, from Grove Theater Center, is thrown off balance by one unconvincing characterization.
Writer-actor-director Amy Conroy's play about two Dublin lesbians named Alice, at Irish Arts Center, is a gem, with a quietly spoken, touching authenticity.
Many theater hearts will be gladdened, not broken, by director Selina Cartmell's consummate production of John Ford's wondrous but rarely seen 1629 revenge drama at Theater for a New Audie…
