54 stories by "Robert Windeler"
John J. Ronan's 80-minute play, produced by American Storyboard at the Producers' Club, like W.B. Yeats is full of large themes, but it has small people.
Riff Collective's rock riff on Shakespeare's "Hamlet," part of Frigid New York, has much to recommend in its music and performances, but the plot palls.
Actor-author Tali Brady's one-woman play about Jane Austen, part of Frigid New York, is charming and insightful but marred by contemporary references.
Two attractively symbiotic actors demonstrate diversity in this aptly titled 75-minute series of sketches, which, like most such programs, has its ups and downs.
Joe Lauinger's perfectly fine realistic one-act play is undercut by tacking on a slapdash absurdist second act, which seems as if it was written by a different playwright.
Every August, Lorna Luft calls her agents to remind them that it's time to start booking her into a year-end production of the stage version of Irving Berlin's "White Christmas."
Twelve speculative backstage scenes depicting Elizabeth Taylor, Lena Horne, and Greta Garbo as deeply self-involved, neurotic, foulmouthed harridans don't add up to much insight, just to a…
Sean McNall's finely nuanced performance in the title role, abetted by Grant Goodman's strong account of Richard's nemesis, lead this uncommonly clear-eyed production of Shakespeare's pro…
Joel Rooks understudied Frank Gorshin in the 2002 Broadway production of Rupert Holmes' solo bio-play about George Burns. Nearly a decade later, his performance is as studied as the produc…
A lovely, evocative title, a memorable central performance, strong design credits, plus impassioned advocacy of a worthy cause advance dramatic interest to a point, but don't completely sa…
The rich milieu of South Central Los Angeles in the 1940s is well served by the music and overall look of the production, but the acting is uneven, the plot somewhat predictable—or t…
Yet another one-woman show about Marilyn Monroe offers no new information or insight despite the author's quirky attempts to offer a different take on his subject and a game performance by…
A sprightly and effective cast of eight, a couple dozen charming and apt songs and topflight direction and choreography comprise an enjoyable look at a not-always-enjoyable institution.
Two superb central performances plus stunning yet subtle visual and sound design transform Deirdre Kinahan's radio play into a stageworthy evocation of a long-past dark secret and a misfir…
Non-Irish audience members will have to slog through some odd lingo and pronunciations, but it's well worth it for this impassioned and touching monologue about one woman's lower-middle-cl…
A downer of a subject—self-mutilation and suicide—is further rendered stultifying by unleavened drama vérité, relentlessly downbeat songs, and an attempt to give six …
John Paul Karliak's breezily insightful take on his two mothers is that rarest of solo autobiographical shows, celebrating what his parents did for him rather than to him.
A high level of writing and acting, compassionate direction, and a live string trio playing traditional Scottish songs combine to create an original and involving look at three generations…
Despite a clever setup, some nice acting, and well-earned laughs, this multi-scene look at contemporary American life, priorities, and real estate could use updating to include more-curren…
A runaway subplot that overwhelms a promising premise and some good casting is the chief problem in producer-playwright Joe Beck's virtually laugh-free farce.
Logistics eclipse Shakespeare in this self-described "panoramic theater" presentation, but the summer evening ferry ride to faux France (Governors Island), replete with fireflies, is worth…
While it's always a treat to hear a Bessie Smith song set, and Miche Braden has the chops to deliver this one believably, Angelo Parra's biographical musical unfolds too sketchily.
While effectively evoking another time and place (Arkansas, summer of 1953), playwright Dale Whisman's central wayfaring stranger lacks the credible menace and believable power necessary t…
Paige is currently appearing in the star-studded Kennedy Center revival of "Follies" in Washington, D.C. Surprisingly, Paige has done relatively little work in America until recently.
Despite a clearly committed solo performance, the staging of this 95-minute bioplay about art collector Peggy Guggenheim is cramped and literally artless.
