166 stories by "Marc Miller"
Matt Pelfrey's dramatization of novelist Clifford Chase's satire of all things current scores some salient points but undercuts itself by plunging too deeply into absurdity.
Anton Chekhov famously referred to his stage works as comedies, a characterization that may puzzle anyone who has ever sat through an uncut "Uncle Vanya."
The downsizing of the workforce is one of the timeliest subjects around, but it's only given a light dusting over in "P.O.," Scott Klavan's two-hander about a pair of average-Joe postal work…
Rick Crom's material is inconsistent, but a gifted quartet sells it with panache in this often funny topical revue.
This 90-minute show involving a time-altering drug feels twice as long. Kudos to Broadway vet Liz McCartney for bringing a note of reality to the fantasy.
Michael Roberts' high-energy, low-inspiration musical revue boasts a gifted company of four and enough decent yuks to get you past the sand traps.
Radiohole's spoof of Douglas Sirk's film "All That Heaven Allows" plays like a bunch of kids putting on a show in their backyard and feels just a bit redundant.
Playwright Tom MacLachlan knows stagecraft and has imagination, but he hasn't organized them into a coherent theatrical statement.
How am I going to stretch this out into a full review? There’s so little to say about “How to Be a New Yorker,” the nonmusical revue of New York facts, sketches, and stereo…
"The Great Pie Robbery," Ben Tostado's send-up of 19th-century melodrama in the Fringe, feels belligerent rather than affectionate toward the genre.
Wendy Kesselman's "Spit" and James McLure's "Drive-in Dreams" have modest charms, but Nancy Giles' "The Accidental Pundette" standup routine is hilarious.
"Happily After Tonight," Mateo Moreno's fairy tale mash-up, is crowded with talent and imagination but also coarse, violent, and without purpose.
om Slot's serial-killer drama "Killing Time" is gory and gruesome, but its mild tone is that of a sitcom, and its victims' gallery is mostly good company.
The trouble with Radiotheatre's "The Naughty Victorians," now at the Kraine Theater, is the trouble with any carnal overdose: It's monotonous.
“Revisiting Wildfire,” Kari Floren’s two-hander about a long-term female friendship, is happily universal—and you get to hear Lynne Wintersteller sing.
The Neo-Futurists "hip-hoperetta" "You Are in an Open Field," at Here Arts Center, puts the computer game Zork onto the stage.
In Richard Caliban’s “MoM: A Rock Concert Musical,” at TBG Theater, suburban moms form a rock group and vent, but the show is more concert than musical.
"Marrying George Clooney," CAP21'S nonmusical revue based on Amy Ferris' eponymous book, doesn't even resonate strongly for its distaff target demographic.
Theatre Arlo's "Man Saved by Condiments!" in Frigid New York marks the NYC playwriting debut of Mary Jo Pehl of "Mystery Science Theater 3000."
"DC-7: The Roberto Clemente Story," the new bio-musical at the Puerto Rican Traveling Theatre by Luis Caballero and Harold Gutiérrez, drops the ball.
This Terrence McNally–Stephen Flaherty–Lynn Ahrens tuner still overindulges in sentimentality and noisy anti-Catholicism, but the Gallery Players certainly do a fine job with i…
Martin Dockery's two-hander about the dire consequences of fooling around is deliberately vague and cryptic, and on those terms it's pretty diverting, with fine chemistry between Dockery a…
Seth Rudetsky and Jack Plotnik's disaster-movie spoof wrapped in a '70s songbook is amusing in a cheap way and helped immeasurably by a large, gifted cast.
Ken Simon's adaptation of Evelyn Piper's novel is an awkward mix of incompatible media, a long evening even at a little more than an hour.
A fun Summer of Love nostalgia fest and a labored metatheatrical present-day whimsy constitute Michael Weller's one-acts, which are sometimes amusing but always lightweight.
