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  Theatre in Review: Hadestown (Walter Kerr Theatre)
Quite possibly the most exciting new musical of the Broadway season is a trip to Hell and back. (I could say the same about some of its competitors, but in a far-less-positive spirit.) It also takes the nod for most-improved new musical: ...
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Theatre in Review: Grief is the Thing with Feathers (St. Ann's Warehouse)
Metaphors Gone Wild might be a better name for the current attraction at St. Ann's, for, in the American premiere of this new work by Enda Walsh, presented by Wayward Productions in association with Complicité, grief is ...
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Theatre in Review: Beetlejuice (Winter Garden Theatre)
For a show in which half the cast of characters is dead, Beetlejuice is, to an alarming degree, hell-bent on being lively: It's an aggressive, jack-in-the-box package loaded with loud music, blaring colors, distorted angles, blinder ...
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Theatre in Review: Killing Time (59E59)
The title of Zoe Mills' play has a double meaning, since the heroine, Hester Brooke, only has a little bit of time left, and she wouldn't mind cutting her small allotment by a considerable amount. A retired cellist, just on the ...
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Theatre in Review: King Lear (Cort Theatre)
Quite possibly the most exciting theatre event of last season was Glenda Jackson in a glittering revival of Edward Albee's Three Tall Women. Long absent from our stages, thanks to a distinguished career in politics, she ...
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Theatre in Review: The Pain of My Belligerence/Then They Forgot About the Rest
Two new plays examine women in crisis in an increasingly baleful world. The Pain of My Belligerence, at Playwrights Horizons, begins with Cat, a New Yorker writer, on a date with a world-class Mr. Wrong; naturally, she is ...
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Theatre in Review: Instructions for American Servicemen in Britain (59E59)
The Brits Off Broadway season at 59E59 kicks off with this concept-comedy attraction that works the wartime cultural differences of Yanks and Brits across a series of sketches. The four writers -- Dan March, James Millard, Matt Sheahan
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Theatre in Review: Burn This (Hudson Theatre)
Because the male lead role is catnip to young actors looking for a tour de force, Burn This most likely will always be with us, but there's no getting around the fact that Lanford Wilson's 1987 play is one of his minor works. ...
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Theatre in Review: Socrates (Public Theater)
Socrates is a monumental effort, an incisive portrait of a foundational thinker of Western civilization set against a background of Classical Athens teeming with intellectual ferment, which also serves as a mordant, even savage, ...
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Theatre in Review: 17 Border Crossings (New York Theatre Workshop)
What with presidential threats to shut down the Mexican border, the fractious national debate about immigration, and the wave of nativist organizations sweeping across the UK and the Continent, a piece titled 17 Border Crossings ...
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Theatre in Review: Benny and Joon (Paper Mill Playhouse)
Bryce Pinkham's skill at embodying characters who are lost, lonely, deeply eccentric, or just plain weird is put to excellent use in Benny and Joon. As Sam, a rather strange young fellow who models his sartorial style on ...
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Theatre in Review: All Our Children (Sheen Center)
One of the more horrifying aspects of life under the Third Reich is given surprisingly bland treatment in this new drama. All Our Children focuses on Aktion T4, the program of extermination for German citizens suffering from Down ...
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Theatre in Review: Nantucket Sleigh Ride (Lincoln Center Theater)
Some years ago, I knew a guy who worked as an accountant for one of the big fast-food companies. The corporate slogan, he said, was "what to eat when you don't know what to eat." I thought of him at the Mitzi E. Newhouse Theater the other ...
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Theatre in Review: Juno and the Paycock (Irish Repertory Theatre)
In Sean O'Casey's classic work, comedy and tragedy -- like the characters -- are forced to occupy close quarters; after a while, it becomes almost impossible to tell them apart. Gifted with an unfailingly accurate eye for the life ...
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Theatre in Review: Oklahoma! (Circle in the Square Theatre)/Sincerely, Oscar (Theatre Row)
I'm having my own personal Oscar Hammerstein Week, thanks to the opening of two shows featuring his immortal lyrics. While one works far better than the other, it's fun to speculate what he would have made of them. ...
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Theatre in Review: Ain't No Mo' (Public Theater)
The world that playwright Jordan E. Cooper has imagined in Ain't No Mo' is full of signs and wonders, and the news isn't good. In an act of reparation that Ta-Nehisi Coates never saw coming, by national edict all black people ...
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Theatre in Review: Mrs. Murray's Menagerie (Ars Nova/Greenwich House)
I've begun to think of The Mad Ones as The Passive-Aggressive Players, so expert have they become at mining unspoken conflicts and tiny acts of hostility from whatever situation they present. The company develops pieces in concert ...
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Theatre in Review: Accidentally Brave (DR2 Theatre)
"I should let you know I am not okay," says Maddie Corman near the top of her extraordinary solo show. "This isn't one of those shows where I'm here to tell you that I was okay and then I wasn't okay but now I am okay." It's a novel ...
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Theatre in Review: Do You Feel Anger? (Vineyard Theatre)
Don't look now, but are we beginning to experience a Theatre of the Absurd revival? I tremble at the thought, yet the evidence mounts: The Mother, at Atlantic Theater, features Isabelle Huppert as a formidable matron trapped in a ...
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Theatre in Review: The Cradle Will Rock (Classic Stage Company)
CSC's greatest hits of anti-fascism series continues with this revival of Marc Blitzstein's storied labor opera. Like the company's production, earlier this season, of Bertolt Brecht's 1941 parable, The Resistible Rise of Arturo ...
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