166 stories by "Marc Miller"
Upstage center in Donja R. Love's Sugar in Our Wounds is, as the Playbill says, "a tall, tall tree."
When did you last see a new play where at the end of Act One you thought, hmm, I'm not sure, then at the end of Act Two you thought, Wow?
The theatrical tradition of grownups playing kids, and bringing fresh nuance to adolescent angst, is long and honorable: You're a Good Man, Charlie Brown, of course, and then there's that "P…
Unexpected Joy has a cast of four women and possesses a chick-flick plot that, while original, might have been lifted from a Lifetime Movie of the Week. Wait, wait, don't go away.
Unexpected Joy has a cast of four women and possesses a chick-flick plot that, while original, might have been lifted from a Lifetime Movie of the Week. Wait, wait, don't go away.
Plays don't come timelier than Lindsey Ferrentino's This Flat Earth, premiering at Playwrights Horizons, and sadly, this one will probably stay timely for some good while.
A.R. Gurney is back in town; town is a more civilized place.
Vulnerability doesn't come easily to Eve Ensler. Neither does holding back.
The Connelly Theater, on East Fourth, is an elegant old-style off-Broadway house, with gilded proscenium arch, dramatic red curtain, and ample wing space to store enormous set changes.
The more you like being in a crowded teachers' lounge in the middle of Ohio, the more you'll like Miles for Mary.
Something's happened to Peter Kellogg. . . .
Filial guilt may seem a slender thread on which to hang a whole evening. And it turns out, with The Treasurer, that it is. . . .
Sarah Ruhl, who's usually so eager to provoke and bend rules and tease her audience, has gone mostly naturalistic and presentational with her latest.
This one's a find.
Sherlock Holmes hasn't had an easy time of it on the musical stage.
The sad outweighs the funny in Fulfillment Center, at City Center Stage II at Manhattan Theatre Club, but my gosh, there's plenty of both.
Bella: An American Tall Tale wore me down.
It's called Building the Wall, and yes, the wall referred to is That Wall.
Vince Santoro's one-man show plays like its raison d'être is that the author had a lot to get off his chest, and this was cheaper than therapy.
Myriad are the pop-culture references in "Shine: A Burlesque Musical." How do you make them hold together? You don't.
1950s sensibilities clash with 2010 realities in a weird throwback to backstage musicals, but the three-person cast enchants.
"I like you." "Why?" Not a deathless exchange, yet as rendered with multileveled subtext in Gregory Crafts' "Friends Like These," it pierces and resonates.
This musical version of the fabled Horatio Algers books is hopelessly old-fashioned—but in a good way.
Apple Core Theatre Company's production of William M. Hoffman's 1985 play about the AIDS crisis may not be ideal, but it mostly hits the right notes and is genuinely moving.SOURCE: Backstage at 5:58pm on May 25, 2015[SHARE]
