8,501 stories from Backstage
The invaluable Mint Theater Company's genial production of Lennox Robinson's 1933 comedy keeps a smile on your face for two hours.
Daniel Goldfarb's "The Retributionists" feels neither natural nor believable. And this is a play, mind you, inspired by historical events.
Apparently aiming at the ethnic big time à la "Passing Strange" or "In the Heights," this well-intentioned show needs work if a Broadway shot is ever on the horizon.
Playwright Warren Bodow's "comes to playwriting as a second career." On the evidence of "Race Music," giving up his day job may not have been the most advisable decision.
Director Anna D. Shapiro's impeccable touring rendition ensures that the juicy pleasures of this ballyhooed play live up to our expectations-and then some.
A big hurrah for "Oohrah!"
This self-styled provocateur playwright serves a remarkably mild dish here.
This labored dysfunctional-family melodrama tries to be both shocking and funny but succeeds only in the mildest way at the latter.
Though his tales lack suspense and much drama, Billy Roche's natural performance demands attention. Students of acting and Irish literature should not miss this American premiere.
This hilarious, haunting play about a 100-year-old son and his father goes from silly to heartbreaking without ever becoming serious, thanks to wonderful performers and sharp directing.
Each of these five short plays has its own appeal, but the decision to put such diverse works together leaves one disoriented, as an outsider looking in.
This portrait of the marriage of a marginalized man and woman in 1990s inner-city Dublin gleams with authentic sound but is ultimately unconvincing at its sentimental heart.
The musically gifted cast of 'Glee' talks song selection, audition gaffes, and acting inspirations.
This day-in-the-life drama about doctors in small-town Ohio isn't compelling enough but does offer some good performances and observant writing.
This deeply unfunny play is a muddled mess from beginning to end, thanks to a trite script and sloppy direction.
Unless you need further proof that silence usually isn't golden in live theater, better to rerun a favorite silent movie whose artistry transcends its mechanics.
Despite some interesting snippets in styles ranging from early Italian opera to vaudevillian camp, "Cock-a-Doodle-Doo!" loses the multidimensionality of the Melville story it adapts to becom…
Though writer-performer Thomas Papathanassiou's the performance is pitch-perfect, his play, more driven by memory than conflict, often drags.
This awkward whimsy fails to shed new light on the canine experience. Interspersed with mild human drama, it goes nowhere on parallel tracks.
Who'd have thought that a show about four men in prison getting beaten, raped, electrocuted, hung, and guillotined would be so hilarious? The Madrid-based troupe Yllana obviously did.
A few weeks before his death in 1939, Sigmund Freud received a visit from an Oxford professor at his home in London. The identity of the caller is lost to history, but playwright Mark St. Ge…
"A Streetcar Named Desire" is Tennessee Williams' greatest and most performed play. It's also the hardest to get right.
A funny, sexy campfest that traffics in beefcake and drag divas in equal measure while sending up 1950s sci-fi movies.
It's amazing that this inept show was produced at all, much less on the scale with which it is presented here.
