The Gay No More Telethon - reviewed by LEONARD JACOBS
The title tells you all you need to know about this lighthearted, occasionally clever musical.
The title tells you all you need to know about this lighthearted, occasionally clever musical.
Being a gay couple for 27 years is something to be proud of; it can also evoke a need for change. In John Reoli's clunky, sweet-natured play, one couple learns the hard way what's best for t…
For a little more than 60 breathless minutes, Debora Weston holds the audience in the palm of her fist as "Valley of the Dolls" novelist Jacqueline Susann.
Scratch "Scratch," Aimee Gonzalez's plodding adaptation of "Medea," off your list.
Perhaps it's time to put the beautiful losers and femmes fatale on ice for a while, so we can one day look at them with fresh eyes.
Perhaps a man's reach should exceed his grasp...but not a musical theatre writer's. At some point, a writer has to know the limits of his talent - or else you wind up with something like "Ga…
In each of these one acts, the characters are relatable, the packaging snazzy and accessible, and the performers flawless. It's a likely favorite. But some will wonder - this writer included…
Sometimes creating your own role can work wonders for a career, but playwright and lead actor Jennifer Bogush hasn't done herself any favors.
This well-intentioned look at poverty has been culled from the testimony of food-bank clients but doesn't quite tug at the heartstrings or conscience as expected.
This ridiculous, self-aggrandizing spiel from a trial lawyer would be over quicker in a bar - and accompanied by a beer.
This musical that wonders what happens to the golden-boy high school athlete after he's bested by the nerdy guy drags the audience through two hours of tedium.
Two hours is way too long to sustain what is essentially Carol Burnett-style sketch comedy.
Old romance novels and the not-quite-romance of MTV's "Next" and "The Real World" come together for a glorious lampooning in Katharine Heller's "The Boy in the Basement."
This is a phenomenal takeoff on mystery films, backstage comedies, and gay camp, including delicious one-liners.
Long-form improv is notoriously hard to do, as it's usually predicated on being funny, thinking fast, and sustaining it all for a whole evening.
Playwright Stanton Wood works in a simultaneously fantastic and Shavian mode in "Big Thick Rod," a thought-provoking but never completely satisfying comedy about love, sex, and big business.
Anyone who thinks talking about sex is never dull should head down to the SoHo Playhouse and catch a performance of David Johnstone's translation of Edgar Chías' excruciatingly tediou…
In "Hot Cripple," Hogan Gorman details how, in one tragic moment, she lost everything.
Michael T. Middleton's new play George the Fourth feels like a fifth-rate version of "Who's Afraid of Virginia Woolf?"
Both dramatically and socially compelling, the 1993 Lucasville prison uprising is an ideal subject for activist drama.
Keith Reddin was one of the hottest playwrights of the 1990s, and it's a treat to find a world premiere play of his at the Fringe.
If there's a prize for performing under intolerable circumstances, Adelmo Guidarelli, a good legit baritone, gets it.
Amanda Allen giddily goofs on a beloved cartoon TV show.
Mark Sam Rosenthal evokes Tennessee Williams' faded Southern belle in a loving tribute and searing political cartoon.
Bowery is an uneasy alliance of music and drama, with the latter taking precedence.