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  Theatre in Review: Ain't No Mo' (Belasco Theatre)
Ain't No Mo', which is scheduled to depart the Belasco on Sunday after 22 performances, is the second show to disappear from Broadway in unseemly haste. (The other is KPOP, which closed this past Sunday.) This ...
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Theatre in Review: The Far Country (Atlantic Theater Company)
When the powerful moments come in The Far Country, they are usually throwaways, offhand comments discreetly packed with dynamite that catch one by surprise. We are first introduced to Gee, who has come to China to purchase a ...
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Theatre in Review: La Race (Page 73/Working Theatre at McGinn/Cazale Theatre)
Playwright Blue Beckford-Burrell has assembled a lively crowd for her Off Broadway debut. There's Maxine -- outspoken, thirtysomething, and Black -- who, having lost her job, gets dragooned into running for the City Council seat ...
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Theatre in Review: KPOP (Circle in the Square Theatre)
It grieves me to say it, but KPOP has lost its pop -- also its snap and crackle. A critical and popular success five years ago in an immersive, walk-through production that was surely unsustainable for more than a limited run ...
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Theatre in Review: Underneath the Skin (La MaMa)
Throughout his adult life, Samuel Steward (1909 - 93) kept by his bedside a reliquary containing a tiny cutting from Rudolph Valentino's pubic hair. That this is not the most outré detail about him tells you plenty about this ...
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Theatre in Review: Hoagy Carmichael's Stardust Road (York Theatre at Theatre at St. Jean's)
Hoagy Carmichael wrote "Heart and Soul?" Who knew? That's one of the revelations of this fast-paced revue celebrating the great American composer. Another surprise is that the lyrics to everyone's favorite two-finger piano piece are ...
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Theatre in Review: A Christmas Carol (Nederlander Theatre)
You can't say the design department of A Christmas Carol hasn't done its work; indeed, the members of the team have all but exhausted themselves in bringing the Charles Dickens classic to theatrical life. Dane ...
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Theatre in Review: The Gett (Rattlestick Playwrights Theatre)
According to the script of The Gett, it unfolds "either six thousand years ago or six days ago." In either time frame, it is distractingly vague, an antiromantic comedy about a heroine who, it seems, mostly wants to be left ...
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Theatre in Review: & Juliet (Stephen Sondheim Theatre)
A clear example of an audience show -- if you're the right audience -- & Juliet is more of a teenage dream than an adult entertainment. This cheeky musical squib on Shakespearean tragedy is the theatrical equivalent of YA ...
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Theatre in Review: The Rat Trap (Mint Theatre Company at City Center Stage II)
Marriage is a zero-sum game in this early, rarely seen, Noël Coward comic drama. His first full-length play, written he was only nineteen, The Rat Trap is a champagne cocktail with a bitter under-taste, a startlingly ...
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Theatre in Review: Sandra (Vineyard Theatre)
The title character of David Cale's new solo piece rashly undertakes a search for a missing friend, an endeavor that puts her in danger of vanishing herself. The intrigue begins when the fortysomething Sandra, who runs a Brooklyn ...
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Theatre in Review: Only Gold (MCC Theater)
I don't know why Paris must constantly take it on the chin from our musical theatre makers, but the blows keep coming. From the mislaid charm of An American in Paris to the cloying whimsies of Amélie and the blizzard of ...
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Theatre in Review: Evanston Salt Costs Climbing (The New Group/Pershing Square Signature Center)
The weather outside is frightful, but it's nothing compared to the spiritual heebie-jeebies suffered by a gaggle of Illinois civil servants in Will Arbery's latest report from an unsettled heartland. They're a distinctively jittery ...
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Theatre in Review: Camp Siegfried (Second Stage)
Context is everything in Camp Siegfried, the simple story of a boy, a girl, and an ideology. Their romance unfolds on Long Island during the summer of 1938. He, played by Johnny Berchtold, approaches her (Lily ...
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Theatre in Review: Almost Famous (Bernard B. Jacobs Theatre)
There comes a point in Almost Famous when all the elements align, and the promise of a supercharged musical entertainment is fulfilled: The number "Fever Dog" is a note-perfect pastiche of a swamp rock rager circa 1973. The ...
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Theatre in Review: Downstate (Playwrights Horizons)
Playwright Bruce Norris has never shown much interest in taking prisoners, but even the most hair-raising of his works pales in comparison to Downstate. Taking direct and deadly aim at one of society's bedrock pieties, ...
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Theatre in Review: The Old Man and the Pool (Vivian Beaumont Theatre)
In the most uproarious part of Mike Birbiglia's latest solo effort, he asks the audience not to laugh. More to the point, he calls for a moment of silence, memorializing the subject of an anecdote about a man who dropped dead while ...
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Theatre in Review: Where the Mountain Meets the Sea (Manhattan Theatre Club/City Center Stage I)
Where the Mountain Meets the Sea breaks one's heart coming and coming. Jeff Augustin's brief tale, with music, features two protagonists on separate road trips, the sum of their experiences forming a mutual account of ...
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Theatre in Review: Where We Belong (Public Theater)
In Where We Belong, Madeline Sayet details her tortured relationship with Shakespeare's plays. So troubled is this affair that it's a wonder she and the Bard didn't break up long ago.
Sayet, a Native-American theatre ...
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Theatre in Review: A Man of No Importance (Classic Stage Company)
Give John Doyle a musical and he immediately puts it on a diet. The director operates on the subtractive method, eliminating scenery, and, if possible, having the actors double as musicians. He takes a pair of shears to scripts, ...
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