Rather than an updating of John Webster's "The Duchess of Malfi" for the 21st century, Bethany Larsen's play comes off more like a rejected spec script for the short-lived TV series "Dirty Sexy Money."SOURCE: Backstage at 5:58pm on May 25, 2015☆⚑
This 45-minute piece is more about the fine art of puppetry than it is revealing of Marlene Dietrich's last years or nostalgic about her glamorous life.
Despite some problematic audibility, here is a rare chance to see a decent production of a watershed but seldom-performed 1677 Restoration comedy—and the price is right: It's free.
Author-producer Gregg Greenberg’s somewhat clever sketch idea has been extended to a full-length play, with ever-diminishing results.
Despite some dazzling stagecraft and amusing moments, the central premise of this 70-minute piece palls about halfway through its presentation.
If you thought celebrity stalking was a recent phenomenon, meet Marla and Kate, two 22-year-olds with nothing better to do than have daily picnics on the grounds outside the gated estate of …
Despite a solid production and some good acting, this one-act is grounded by its three main characters' talk of writing novels instead of actually doing it, allowing their muses to take over…
This is a rare chance to see Francis Beaumont's groundbreaking Jacobean comedy about the theater, but Richard Mazda's production is spoiled by strained contemporary pop-culture references.
This charming, tuneful, and lovingly produced musical provides the perfect antidote to the image of the Garden State projected by Snooki and "The Sopranos."
A pale, truncated take on the Faust legend, this 20-year-old "trunk" play, by the late Jovanka Bach, wasn't ready to be read, much less performed. It still isn't.
As performers rather than actors, in an extended sketch rather than a play, Megan McClellan and Brian Sostek are showing off a variety of talents, which seems to be the point of their self-w…
Paul Schultz has written the book, music, and lyrics for what is essentially a two-character musical. So who are all those other people on stage?
It's a rare privilege to be invited into unfamiliar territory and yet to feel instantly at home. Something like that happens on seeing Owen Panettieri's play about three New York roommates o…
Inventive, amusing staging often trumps the consistency of content here, but the multiple subplots in search of a through-line are frequently witty and never dull.
Most of the important elements are in place for "Zapata!," a promising and highly original musical at NYMF by Peter and Ana Edwards. But there are problems.
A few too many characters and themes lessen the impact of Otho Eskin's "Final Analysis," a well-acted one-act in the Midtown International Theatre Festival.
Jaime Salom’s play pairing the lives of Medea and Maria Callas gets the production it deserves at Thalia Spanish Theatre, full of passion and panache.
Nehassaiu deGannes is the ideal surrogate for Diana Sands, a groundbreaking actress who died young, but this bioplay needs a serious overhaul.
Alloy Theater Company’s account of William Luce’s one-woman play about Charlotte Brontë, starring Maxine Linehan, can’t overcome the writing’s contrivances.
Denver Chiu’s riveting performance and a look at Brecht’s basis for “The Caucasian Chalk Circle” are reasons to see this uneven trilingual production.
The Storm Theatre's "The President" rescues a forgotten charmer of a short satirical play by Ferenc Molnár through topflight acting and direction.
This staged reading of “Sitting Pretty,” a deservedly forgotten 1924 musical with music by Jerome Kern, is more engaging than the material it serves.
Actor-author-director Gerda Stevenson pulls off an impressive hat trick in “Federer Versus Murray,” a moving one-act about loss, denial, blame, and escape.
Richard Geha’s interminable “Satan’s Whore, Victoria Woodhull,” at Theater for the New City, gets lost in Geha’s obsession with Woodhull’s sexual histor…
This twin bill at the Cell of one-acts by Larry Kirwin and Seamus Scanlon offers a vivid look at Irish Republicanism in 1916 and 1984.