98 stories by "Richard Green"
Lia Romeo was commissioned to write a script about social networking back in 2011, and now her play Connected is enjoying its very funny maiden voyage.
First impressions, as any fan of Jane Austen will tell you, can be deceiving.
With all the rhythms of a bunch of circus aerialists, David Mamet's debut on the New Jewish Theatre stage starts their 2013 season off with a bang, as director Tim Ocel sends his actors swin…
Amy Herzog's play still manages to do everything you want it to do: the characters come to life, and drive one another to difficult, unexpected places, and us along with them.
Ken Page's new play, set in a wartime club in France, takes us to a place that seems familiar, but—perhaps with a little extra help from some great old songs and Upstream Theatre's curious…
One hundred and fifty-two years ago, Charles Dickens began the publication of "Great Expectations." And now another great storyteller, David Lindsay-Abaire, takes up the opposite theme in a …
Romance may never get more personal than this, as two splendid actors reason out their future on a dreamy riverbank, under a clear-eyed moon.
Nothing says "the holidays" more than dark secrets coming vividly to life. Or Byzantine riddles that add a dash of mystery to the hum-drum rituals of the winter solstice—before we finally …
Because, for better or worse, the play still rises or falls on whether or not you were ever awe-struck by the 1939 movie, as Moonlight and Magnolias is totally devoted to knocking the whole …
This is an extremely funny play, in spite of the implicit subject matter: suburban racism (in 1959) and even a non-violent version of ethnic cleansing (when the same neighborhood gentrifies …
By the director of Les Miserables and Nicholas Nickleby, and the creators of Jane Eyre, this two-person play still manages to twinkle like a lovely little gem.
Here, in Neil Simon's wonderfully touching comedy set in 1942, everything the two teenage boys go through seems to come down to us like a conglomeration of old movies: The Petrified Forest, …
Beyond the writing, the credit goes to Christopher Harris as Yank, a ship's stoker, and also to Upstream Theatre for its grasp of something as thin as the air, the atmosphere itself, that gi…
By rights, this show should be unbelievably grim, and we should all weep for America. But it's not, and, well, we don't.
This is the most romantic "Dream" I've ever seen, although it's also the most surprising clash of costuming visions, too.
Perfectly cast, excellent in its visual conception, and charming beyond all reason, My One And Only will make you forget all about political attack ads, and probably everything else, for ove…
I like everything about this play, except that it took me almost exactly as long to get ready before the show and then drive over early to get a parking spot in the theater district (and the…
Believe it or not, this is the very first Neil Simon play the Rep has ever done, in its 46 year history. And I feel strangely terrible about the whole thing, because it's taken me all these …
These are some great young actors to watch, while your ears exult in the equally great writing of Richard Greenberg's 2003 play.
Not that this is a "bad" show: it has a lot of good musical numbers, a few really good ones, and a very accomplished cast and crew, too. But the jokes, at the expense of "white trash" Americ…
Most theater people are at least vaguely familiar with Noises Off, the farce with eight doors (sixteen if you count the backstage action in the second act) but if you've never seen it with a…
You can't blame anyone for producing a Ken Ludwig farce-take his fine stage adaptation of the old movie, Twentieth Century, or his greatest achievement, Lend Me A Tenor. I mean, Ken Ludwig k…
This would be a good show to take a gang of four-to-six year old girls to: with big colorful dance numbers; and a gargantuan pile of incredibly lame wokka-wokka-wokka-style jokes from three …
I can't remember a Muny show that ever looked as polished and fearsome on opening night as this one, directed and choreographed by Denis Jones.
Director Michael Hamilton pulls one rabbit out of his hat after another, for the first 2/3rds of this nightclub-style revue, on a sleek art deco stage by James Wolk.
