193 stories by "Tony Marinelli"
At the center of this improbable vessel is David Greenspan, who gives one of those performances that make the phrase “command of language” sound insufficiently imposing. As the elderly H…
What playwright and director Simon Stone does with "The Cherry Orchard" is less a conventional modernization than a cultural transplant: Anton Chekhov’s doomed Russian estate becomes a gli…
Sarah Jones has spent two decades turning the one-person show into an exercise in theatrical multiplication. In "America, Who Hurt You?," she fills the Polonsky Shakespeare Center with a spr…
A multi-day hike is supposed to be restorative: an interval in which the civilized world recedes, the body remembers that it has muscles, and the mind, deprived of its usual electronic distr…
There is something wonderfully perverse about naming two sisters Kate and Bianca after the heroines of Shakespeare’s "The Taming of the Shrew" and then setting them loose in the 21st centu…
Sidney Hatcher, Wadiah Waliah and Benjamin C. Rowe in a scene from Terence Anthony’s “The House of the Negro Insane” at 59E59 Theaters (Photo credit: Steven Anderson) Terence Anthony�…
If Kelly can pare away the exposition, substantially tighten the second act, eliminate the extraneous political rhetoric, deepen the comedy through character rather than topical jokes, and g…
In benevolent, Sophie McIntosh turns a basement laundry room into a small theater of female confinement, where the dirty linens of respectable New York become both literal evidence and metap…
"Isla," the new musical-theater piece from Hit the Lights! Company now at WP Theater, is one of those productions in which the eye is continually rewarded while the mind is left waiting for …
At first mention, a young woman suffering a stroke does not sound like a promising premise for a comedy, much less a musical comedy. It suggests frantic texts to a medically literate friend,…
John Donnelly’s "The Pass," which arrived at London’s Royal Court Theatre in 2014 and now makes its American premiere at La MaMa, is the sort of play whose subject seems almost unnerving…
George's accomplishment lies in recognizing that public catastrophes reverberate far beyond the headlines. His protagonists are not heroes in any conventional sense but three hourly employee…
Christopher Ryan directs with remarkable confidence in the material's stillness. Presented upstairs at Quick Eternity, a cocktail bar tucked into the Seaport, the production dissolves the cu…
Giovanna Yang as Despina, Lina Chung as Fiordiligi, Ricardo Diaz as Ferrando, Young Kwang Yoo as Guglielmo, Mairin Srygley as Dorabella and Nicola Ziccardi as Don Alfonso in a scene from T…
Matthew Leavitt’s "Sukkot" begins with a deceptively simple premise: a grieving widower builds a sukkah because he believes it is the closest remaining path to his late wife. From that pre…
What ultimately distinguishes this production is its refusal to flatten Shakespeare into a contemporary thesis. It neither apologizes for the play's misogyny nor sensationalizes it. Instead,…
César Alvarez's "The Potluck," directed with uncommon daring by Sarah Benson, is that increasingly rare theatrical achievement: a musical willing to risk confusion, contradiction, and forma…
A theatrical audition has always carried the faint aura of ritual: a small room, a handful of strangers vested with authority, and an actor asked to compress talent, vulnerability, and despe…
Walsh has long been fascinated by characters imprisoned within the architecture of their own memories, people condemned to relive the past not because they have forgotten it, but because the…
What emerges over time is not merely a friendship but one of the most intricate love stories currently playing in New York. Ari and Brit have been entwined since birth, neighbors in a traile…
Few musicals occupy quite the same place in the American theatrical imagination as "La Cage aux Folles." Jerry Herman and Harvey Fierstein’s 1983 landmark arrived disguised as an old-fashi…
Throughout, Rice and Roland demonstrate extraordinary command of tone. They move effortlessly from slapstick to philosophical inquiry, from broad clowning to moments of startling vulnerabili…
Helen Banner’s "In the Devil’s Hands," receiving its haunting world premiere at Zoopraxic’s newly opened Long Island City performance space, is one of those rare theatrical experiences…
For most of its running time, "Dirty Books"—a slyly seductive immersive production written and directed by Mara Lieberman for Bated Breath Theatre Company—behaves less like a play than l…
There are evenings in the theater when one feels not merely entertained but altered—mysteriously unfastened from the ordinary mechanisms of perception and delivered into some older, strang…
