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  Theatre in Review: Venice (The Public Theater)
Sometimes a theatre's programming creates the most unfortunate juxtapositions, a phenomenon that is happening right now at the Public: Having opened Here Lies Love -- a mordant, inventive, disco-flavored musical that charts the rise ...
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Theatre in Review: The Silver Cord (Peccadillo Theater Company/Theatre at St. Clement's)
"I say this about children: Have them. Love them. Leave them be." This eminently sensible advice, voiced by one of the characters in The Silver Cord, is most assuredly not in practice on stage at St. Clement's these nights. ...
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Theatre in Review: Cornelius (59E59)
An almost entirely forgotten selection from the J. B. Priestley catalog -- even with Ralph Richardson in the title role, it eked out a mere seven weeks in its 1935 West End debut -- Cornelius is suddenly being ...
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Theatre in Review: A Picture of Autumn (Mint Theatre Company)
It's conventional wisdom that the Mint Theatre Company rescues lost plays; more recently, it has been salvaging playwrights. Most prominent among these has been the forgotten Teresa Deevy; A Picture of Autumn ...
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Theatre in Review: The Little Mermaid (Paper Mill Playhouse)
The Little Mermaid certainly wasn't Disney Theatrical's finest hour on Broadway -- at the time, it looked more like the firm's last gasp -- but it has found a sprightly afterlife at Paper Mill Playhouse. Based on the animated ...
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Theatre in Review: Far From Heaven (Playwrights Horizons)
Each era gets the stars it requires, and to my mind Kelli O'Hara represents the best of what today's musical theatre has to offer. It goes without saying that she is gifted with a big, creamy voice that wrings every available bit of ...
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Theatre in Review: The Caucasian Chalk Circle (Classic Stage Company)
The director Brian Kulick makes a boldly imaginative gambit in his new staging of The Caucasian Chalk Circle, and, before the production runs out of steam, it offers a fresh look at a classic rarely seen in New York.
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Theatre in Review: Murder Ballad (Union Square Theatre)
Passion is a killer in Murder Ballad, the new pulp-fiction musical that has transferred to Off Broadway following a hit engagement at Manhattan Theatre Club. Sara and Tom, who form two sides of librettist Julia Jordan's ...
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Theatre in Review: Nikolai and the Others (Lincoln Center Theater at the Mitzi E. Newhouse)
In play after play, Richard Nelson has specialized in creating communities of the alienated, tiny communities of like-minded souls who find themselves out of sync with the larger world. The most obvious example is the trio (soon to ...
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Theatre in Review: The Notebook of Trigorin (Attic Theatre Company/Flea Theatre)
Two very different dramatic sensibilities coexist uneasily in The Notebook of Trigorin. Tennessee Williams was on the record as revering Anton Chekhov, but it's not entirely clear what he thought he could bring to this ...
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Theatre in Review: Pinkolandia (INTAR Theater)
A legacy of political exile mars the lives of two young girls in Pinkolandia. Beny and Gaby are sisters, of Chilean descent, living in Milwaukee in the early 1980s; both spend too much of their time in fantasy worlds. Beny, who is ...
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Theatre in Review: Bunty Berman Presents (The New Group)
People often look down on those who create musical comedy for a living, as if it were naturally the province of simpletons. In fact, it is an exacting discipline that requires highly developed skills and a strong point of view. Ayub ...
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Theatre in Review: A Public Reading of an Unproduced Screenplay About the Death of Walt Disney
Rarely does one encounter a title as revealing as the one above, and what you see is what you get at The SoHo Rep. We are in a corporate boardroom with three actors sitting at a long table, waiting while jazzy music plays on the sound ...
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Theatre in Review: I'll Eat You Last (Booth Theatre)
Warning to all attending I'll East You Last: Prisoners are not being taken at the Booth Theatre. John Logan has decided that what we all need is a little chat with the late superagent Sue Mengers -- chat being a ...
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Theatre in Review: Old-Fashioned Prostitutes (A True Romance) (The Public Theater)
The set is cluttered with all sorts of paraphernalia -- pillows, bouquets of flowers, gilded picture frames, newspaper pages pasted to the wall. Also affixed to the wall are hundreds of letters, carefully arranged not to spell any words. ...
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Theatre in Review: Mariquitas (Theatre for the New City)
In the course of his long career, Eduardo Machado has examined modern Cuban history from a stunning variety of perspectives. In his latest work, Mariquitas, he comes up with an especially novel premise, examining the ...
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Theatre in Review: Pippin (Music Box Theatre)
Some actors steal a show; Andrea Martin takes over Pippin the way Sherman took Georgia -- with ruthless efficiency and brooking no opposition. She turns up about halfway through the first act as Berthe, the supposedly ...
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Theatre in Review: Core Values (Ars Nova)
If you've ever been on a company retreat, you're virtually certain to find plenty of hilarity in the first half of Core Values. Steven Levenson's play is set in a small Manhattan travel agency that largely caters to corporate ...
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Theatre in Review: This Side of Neverland (Pearl Theatre)
Pearl Theatre closes out its season with a pair of trifles from the pen of James Barrie, cannily assembled to show that he was much more than the sentimental creator of Peter Pan and the Lost Boys. Both plays are marked by an ...
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Theatre in Review: The Girl I Left Behind Me (59E59)
In The Girl I Left Behind Me, a kind of high-concept cabaret act, the opera singer Jessica Walker focuses on the phenomenon of cross-dressing women who once thrived in the British music hall and on the American vaudeville ...
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