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  Theatre in Review: Iphigenia in Splott (Sherman Theatre, Cardiff/59E59)
Actors have nerves of steel. Near the conclusion of Iphigenia in Splott the other night, a woman in the audience apparently fell ill. Unfortunately, she was sitting at the end of the third row against the house left wall of ...
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Theatre in Review: Rooms (Irish Arts Center)/Arlington (St. Ann's Warehouse)
There's a haunting going on at Cybert Tire, a former auto care business located in a warehouse-style building on Eleventh Avenue. It is slated to become the new home of the Irish Arts Center, but, for the moment, it contains three enclosed ...
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Theatre in Review: 3/Fifths (3LD Art & Technology Center)
We've had so many plays about the apocalyptic future recently that it was only a matter of time before artists started focusing on the apocalyptic present. Perhaps taking their cue from Dismaland, the dystopian theme park installation by ...
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Theatre in Review: Twelfth Night (The Public Theater)
If free Shakespeare in Central Park is Joseph Papp's greatest gift to New York City, then the Public Theater's Mobile Unit may be his most necessary offering. Each year, a troupe is assembled to perform a play by Shakespeare in various ...
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Theatre in Review: Happy Days (Theatre for a New Audience)
I've seen all sorts of actresses take on the role of Winnie, the semi-buried matron who is the principal subject of Samuel Beckett's Happy Days, but none have made the character quite as purposeful as Dianne Wiest
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Theatre in Review: Marry Harry/Ernest Shackleton Loves Me
Two new musicals are notable more for their design elements than their books or scores. Marry Harry, now running at York Theatre Company, announces its intentions in its second number, "Harry's Way." Just to be clear, the ...
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Theatre in Review: Pacific Overtures (Classic Stage Company)
"One must accommodate the times/As one lives them..." So sings Kayama, one of the many whose lives are derailed by history in this sleek, marvelously lucid revival. Even among Stephen Sondheim fanatics, Pacific Overtures
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Theatre in Review: Dead End (Axis Theatre)
Strange how a forgotten work, by a forgotten playwright, can have so many cultural repercussions: Dead End, by Sidney Kingsley, was a blockbuster hit in its day, occupying the Belasco Theatre for 687 performances from ...
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Theatre in Review: The Roundabout/Fossils (59E59)
The second wave of offerings in this year's Brits Off Broadway festival are rather lighter in tone -- and considerably weaker -- than their predecessors. Although he has a least one charming comedy (When We Are Married) to his ...
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Theatre in Review: Bamboo in Bushwick (Working Theater at Urban Stages)
Bamboo in Bushwick weds an uneventful naturalistic drama about gentrification to a bizarre series of fantasy sequences that seem to come from a National Geographic special. The action unfolds on a street in the neighborhood ...
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Theatre in Review: Six Degrees of Separation/The Antipodes
Two new productions focus, in entirely different ways, on the importance of storytelling in helping each of us define who we are. Six Degrees of Separation (in its first Broadway revival, at the Ethel Barrymore Theatre) is ...
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Theatre in Review: Charlie and the Chocolate Factory (Lunt-Fontanne)
Given the chilly reception afforded Charlie and the Chocolate Factory last week, I feel duty bound to point out that, if it is hardly the best musical on Broadway, it is surely the most improved. In the West End, where it ...
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Theatre in Review: A Doll's House, Part 2 (Golden Theatre)
Having, so many years ago, sat, gobsmacked, through A Doll's Life -- the show that answers the question, What happened to Ibsen's Nora after she famously slammed the door on her marriage? -- I confess to having arrived at the Golden ...
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Theatre in Review: Bandstand (Bernard B. Jacobs Theatre)
Swing music is usually represented in popular culture as an eruption of high spirits. The dominant form of the 1930s and '40s, it was, arguably, the first pop music aimed directly at a teenage demographic; after all, Grandma couldn't do ...
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Theatre in Review: The Little Foxes (Manhattan Theatre Club/Samuel J. Friedman Theatre)
Name your poison: Laura Linney or Cynthia Nixon? I mean this in the nicest possible way. Whichever version of The Little Foxes you attend, you are in for a memorable time. As you probably know, the actresses are ...
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Theatre in Review: Hello, Dolly! (Shubert Theatre)
The three loudest, most tumultuous ovations I have ever heard in a theatre happened the other night at the Shubert -- all of them for Bette Midler, making a momentous return to musical theatre as Dolly Gallagher Levi, marriage ...
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Theatre in Review: Anastasia (Broadhurst Theatre)
The Broadhurst Theatre is owned by the Shubert Organization, which has as an archive, maintained in the Lyceum Theatre; it includes correspondence, contracts, design sketches, scripts, and scores from its one hundred-plus years of ...
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Theatre in Review: The Profane (Playwrights Horizons)/CasablancaBox (HERE)
In The Profane, the playwright Zayd Dohrn reinvents a standard meet-the-parents plot in order to probe the uneasy peace shared by Muslim-Americans in contemporary America; the results are so absorbing -- and Dohrn is ...
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Theatre in Review: Rebel in the Soul (Irish Repertory)/Samara (Soho Rep)
I know that the Irish are renowned for the gift of gab, but must it manifest itself in plays overloaded with dramatic monologues? A singular feature of modern Irish playwriting is an overreliance on long, long solo speeches. I blame Brian ...
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Theatre in Review: Groundhog Day (August Wilson Theatre)
For the record, I attended Groundhog Day on the fateful Friday night when Andy Karl, the star (and the hardest-working man on Broadway), injured his knee, forcing him to hobble through the final two scenes with the aid ...
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