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  Theatre in Review: Hit the Wall (Barrow Street Theatre)
Hit the Wall wants to offer a wide-angle view of the Stonewall Riots, the series of events enshrined in legend as the beginning of the modern gay rights movement -- in a tiny space with a dozen actors and a running time of 90 ...
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Theatre in Review: Ann (Vivian Beaumont Theater)
Now that Ann has opened, the Tony committee may have to create a new category, for best featured hair. The coif worn by Holland Taylor in her solo play about Ann Richards, the late governor of Texas, is a thing to ...
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Theatre in Review: Totem (Citi Field)
Totem is the latest collaboration between Cirque du Soleil (CDS) and the director Robert Lepage, an alliance that brought you a little thing called KÀ. Unlike that Las Vegas mega-spectacle, Totem is a ...
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Theatre in Review: Old Hats (Pershing Square Signature Center)
The title is Old Hats, and, in truth, neither of its principal clowns is a kid anymore; nevertheless, the mood on stage at the Signature Theatre is younger than springtime, thanks to the uninhibited hilarity of Bill Irwin
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Theatre in Review: The Flick (Playwrights Horizons)
In plays like Circle Mirror Transformation and The Aliens, Annie Baker has created a universe populated by a distinctive tribe of losers and lost souls; using terse dialogue and some of the most pregnant pauses since ...
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Theatre in Review: Detroit '67 (The Public Theater)
The fall of Detroit -- once a thriving industrial metropolis, now a bankrupt, burned-out shell -- is one of the great American tragedies; it's also the stuff of drama, but so far no playwright has dared to take it on. Now comes Detroi ...
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Theatre in Review: Neva (The Public Theater)
The words -- anguished, furious, shot through with longing, and frequently dripping with acid -- come in raging rivers in Neva. If lengthy stretches of prose, thick as borscht with sour cream and with the destabilizing kick ...
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Theatre in Review: The Madrid (Manhattan Theatre Club/City Center)
Why would you hire an actress of Edie Falco's caliber to star in a play and then banish her to the wings? A strange question, I know, but that's exactly what happened with The Madrid, a confused work receiving a ...
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Theatre in Review: Talley's Folly (Roundabout Theatre Company/Laura Pels Theatre)
In a way, Talley's Folly begins with a lie. Danny Burstein, in the role of the Jewish accountant (and would-be suitor) Matt Friedman appears in the setting of the title (a magnificently ruined boathouse designed with ...
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Theatre in Review: The North Pool (Vineyard Theatre)
Even if high school was an absolute nightmare for you, a trip to the vice principal's office was surely never the exercise in menace that it is in The North Pool. Before the plot of Rajiv Joseph's two-hander takes a ...
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Theatre in Review: The Dance and the Railroad (Signature Theatre)
In The Dance and the Railroad, David Henry Hwang has seized on a fascinating aspect of American history, and it's a great pity that he doesn't make more of it. Using an extreme close-up lens, he focuses on a brief ...
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Theatre in Review: The Drawer Boy (Oberon Theatre Ensemble/Abingdon Theatre Arts Complex)
Angus, a middle-aged Canadian farmer, is the drawer boy, although what that means is revealed only gradually in Michael Healey's play. It is 1972, somewhere in central Ontario. The obviously brain-damaged Angus, who suffers from a ...
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Theatre in Review: The Old Boy (Keen Company/Theatre Row)
"My God, does anyone ever let go of this place?" Not in The Old Boy, as a visit to his old prep school forces the title character to confront the legacy of pain he left behind. Seeing the new Keen Company production, it's ...
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Theatre in Review: Henry IV, Part I (Pearl Theatre Company)
To accommodate the action of Henry IV, Part I, Daniel Zimmerman, the set designer, has stripped the Pearl Theatre stage to the walls. At stage right is a large map of Britain; at stage left are barrels of wine and a tavern ...
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Theatre in Review: Belleville (New York Theatre Workshop)
If there was an award for most merciless play of the year, Belleville would take it handily. Amy Herzog's new play is not so much a dissection of an unhappy marriage as it is a vivisection; she all but flays her ...
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Theatre in Review: Passion (Classic Stage Company)
In the family of Stephen Sondheim's musicals, Passion is the crazy aunt who lives in the attic; it won't go, and it can't be ignored. Sondheim has had bigger flops, to be sure, but Anyone Can Whistle and Merri ...
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Theatre in Review: The Revisionist (Rattlestick Playwrights Theatre/Cherry Lane Theatre)
Vanessa Redgrave? At the Cherry Lane? Really? Many have expressed their surprise that she is deigning to appear in a Rattlestick production at the storied Cherry Lane. I confess I was a little surprised myself. What's next, I ...
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Theatre in Review: Really Really (MCC Theatre at Lucille Lortel Theatre)
Paul Downs Colaizzo, a first-time playwright, certainly isn't afraid of a provocative premise. He also has a knack for plot twists; in fact, he twists his debut work, Really Really, into a pretzel before he's done, ...
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Theatre in Review: Katie Roche (Mint Theatre)
The more we see of Teresa Deevy, the more she impresses. A leading light of the Abbey Theatre in the 1930s, she sank into obscurity, all but disappearing from the history books until Jonathan Bank, artistic director of the ...
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Theatre in Review: Donnybrook! (Irish Repertory Theatre)
For nearly a decade, Irish Repertory Theatre has been producing vest-pocket productions of vintage musicals with mixed results; presented on the company's tiny stage, with tiny casts and even tinier bands, the results have been not unlike ...
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