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  Theatre in Review: Cyrano de Bergerac (Roundabout Theatre Company/American Airlines Theatre)
As this season proves, we are living in the age of the perpetual revival. At times, it feels as if Broadway is stuck in a time loop, forced to present the same titles over and over. We're getting Glengarry Glen Ross seven years ...
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Theatre in Review: Grace (Cort Theatre)
If Grace does nothing else, it reminds us that, to make theatrical magic, all you need is Michael Shannon and a telephone. Two seasons ago, in Craig Wright's uproarious Mistakes Were Made, he remained ...
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Theatre in Review: Heresy (The Flea Theatre)
In its basement space, The Flea Theatre is presenting Thomas Bradshaw's Job, which combines graphic depictions of incest, homosexual rape, and castration with lines like "Dad! Dad! Uncle Satan is here to see you!" Upstairs, you'll ...
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Theatre in Review: Him (Primary Stages/59E59)
You could probably write a master's thesis on the ways in which the plays of Daisy Foote resemble, and differ from, those of her father, Horton, but, five minutes into Him, it is clear that both are poets of ...
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Theatre in Review: Ten Chimneys (Peccadillo Theatre Company/Theatre at St. Clement's)
In Ten Chimneys, playwright Jeffrey Hatcher takes Alfred Lunt and Lynn Fontanne and ensnares them, sometimes awkwardly, in the plot of The Seagull. It is 1937, and the celebrated pair are ensconced in their ...
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Theatre in Review: An Enemy of the People (Manhattan Theatre Club/Samuel J. Friedman Theatre)
You can quite plausibly sum up the current Manhattan Theatre Club revival of An Enemy of the People as the Warner Brothers version.
If you're a vintage film fan, you'll instantly know what I mean. The typical Warner ...
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Theatre in Review: Chaplin (Ethel Barrymore Theatre)
The writer Ken Mandelbaum once noted that Broadway musicals about the silent film era never really succeed, and certainly Jerry Herman's cult flop Mack and Mabel, Carol Channing's long-ago disaster The Vamp, and Elaine ...
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Theatre in Review: Lovers (The Actors Company Theatre/Theatre Row)
Lovers consists of a pair of one-acts, "Winners" and "Losers," but the line between the two, as is usually the case in the world of Brian Friel, is precariously thin. Not seen in New York since 1968, Lovers ...
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Theatre in Review: Through the Yellow Hour (Rattlestick Playwrights Theatre)
You begin to experience the distinctive mix of suspenseful drama and utter nonsense that is Through the Yellow Hour even before you enter the theatre. The audience is refused entry until just before the play begins, a ...
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Theatre in Review: If There Is I Haven't Found It Yet (Roundabout Theatre Company/Laura Pels Theatre)
There were two questions buzzing around the theatre community during previews of If There Is I Haven't Found It Yet, so let's get them out of the way:
How is Jake Gyllenhaal? The noted young leading man of film, ...
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Theatre in Review: Job (The Flea Theatre)
You are, no doubt, acquainted with the story of Job as presented in the Bible, but here are some of the new features added by the playwright Thomas Bradshaw:
Joshua, one of Job's sons, strangles his sister, Rachel. He then lifts ...
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Theatre in Review: Red Dog Howls (New York Theatre Workshop)
Red Dog Howls climaxes with a speech so horrifying that a deathly silence prevails at New York Theatre Workshop. (At the performance I attended, the only sound came from the woman in my row who sobbed uncontrollably ...
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Theatre in Review: The Exonerated (Culture Project)
It was ten years ago that Jessica Blank and Erik Jensen's The Exonerated first froze our blood with its true tales of justice denied and lives derailed, if not destroyed altogether. Drawing from statements and ...
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Theatre in Review: The Train Driver (Signature Theatre)
Athol Fugard's ongoing skill at cauterizing his country's unhealed wounds is on full display in The Train Driver. Just as some wondered if the fall of the Soviet Union might hobble the career of John Le Carré (he's ...
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Theatre in Review: Detroit (Playwrights Horizons)
Lisa D'Amour's play is called Detroit, but her gaze is focused on the endless suburbs that encircle most cities, which, with street after street of prefabricated houses arranged in neat little grids, until recently ...
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Theatre in Review: Mary Broome (Mint Theater Company)
The servant problem couldn't be more acute in Mary Broome, Allan Monkhouse's surprisingly ambiguous comedy of class and sex. It is 1912, and the members of the upper-middle-class Timbrell family are busy preparing for a ...
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Theatre in Review: Forbidden Broadway: Alive and Kicking (47th Street Theatre)
Alive and kicking, indeed: After a three year-sabbatical, Gerard Alessandrini's long-running spoof is back with a vengeance, cutting like a buzz saw through the follies of contemporary Broadway. Nothing escapes his withering notice ...
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Theatre in Review: Heartless (Signature Theatre)
Sam Shepard surely has the strangest imagination of any contemporary playwright. Maddeningly elusive one moment and thuddingly obvious the next, he seems to be engaged in a game of hide-and-seek with his audiences. Trouble is, too ...
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Theatre in Review: Harrison, TX: Three Plays by Horton Foote (Primary Stages/59E59)
Wharton, Texas is loaded with natural resources, having produced cotton, sugar cane, oil, and the plays of Horton Foote. Under the name of Harrison, this town of 9,200 has been the setting for so many works by one of our most ...
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Theatre in Review: Bring It On: The Musical (St. James Theatre)
No, it is not the George Bush story. In point of fact, Bring It On is a bright and breezy entertainment, staged with plenty of pizazz and featuring a cast of personable young people who, in addition to possessing awe ...
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