8,501 stories from Backstage
There is a great deal of talent, intelligence, and invention on display in LoveMusik; one just wishes that its story was more emotionally compelling.
Zak Berkman's seething new play attacks societal hypocrisies from plastic surgery to right-wing politics, and it's nearly brilliant, but the frequent soapboxing unseats what could be a wrenc…
Cheek by Jowl gifts us with a whale of a show.
Mixed Tape 2007 is a nearly incomprehensible jumble of vignettes with scatological dialogue reminiscent of the trashiest South Park episodes but with none of their incisive satire or comment…
Any company brave enough to attempt Happy End had better have some secret weapon - a cool Brechtian irony, a strong directorial concept, killer performances - to sock it across.
But David Fuller's direction consists of an idea here, another idea there.
Coram Boy scores with moral implications and imprecations, exceedingly well-wrought performances, and dramatic grandeur. But other elements wrest you from the action.
There can be no gainsaying that Osmond knows what his audience pants for, and he supplies it.
Members of the Bats, the acting company at the Flea, turn in terrific comedic performances in Joseph Goodrich's wickedly amusing portrait of a stultifying but nerve-racking workplace.
I Land inspires and exhilarates. This is theatre that takes you somewhere new.
It's hard not to fall in love with Annie Sprinkle, an appealing, courageous performer who combines Gypsy Rose Lee's burlesque with Madonna's sexual exhibitionism and Karen Finley's liberal-f…
If Pollyanna directed an Up With People show, this would be it.
This crisply written, neatly produced sort-of-romantic comedy leaves you in the mood of its disconnected hero - uninvolved.
Tweenyboppers are not the only ones who will enjoy this frothy, fluffy, fun show. This is one of those rare productions in which all the elements are outstanding and work together perfectly.
Jan Buttram's play is a hoot -- a feminist future fantasia that makes up in warmth what it lacks in insight.
What's missing in this dance-theatre piece about James Dean is any new information or insight.
This stylish and careful production of an adaptation of an Oscar Wilde short story is delicious.
John Hopkins' play is a heavy-handed cop drama burdened with muddled though familiar psychology.
The effect is that of a clever, small-scale indie flick whose oddball characters stick with you long after the house lights go up.
In this delightful, charmingly quirky 75-minute dance-theatre piece, a young man and woman meet and fall in love while tangoing.
An atmospheric if uncharacteristically mild work by the usually bloody-minded Edward Bond.
Director Judith Malina and the Living Theatre show little sign of stopping.
It sounded like a good idea: Take a collector's obsessive quest for vintage Fiesta ware and fashion it into a metaphor for modern America, particularly the great divide between red and blue …
The Acting Company brings Charlotte Brontë's 1847 gothic romance vividly to life.
S.N. Behrman's play is being spiffily revived by the Pearl Theatre Company.
