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  Theatre in Review: Radiant Vermin (Brits Off Broadway/59E59)
When the characters in a Philip Ridley play enter and frankly admit that they've done something "horrible" to obtain their dream house, one instinctively reaches to fasten one's seat belt. Ridley's last New York production, Mercur ...
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Theatre in Review: A Persistent Memory (Theatre Row)
I understand that David Huntington, the protagonist of A Persistent Memory, is confused, but must the audience be lost in the dark with him? Jackob G. Hofmann aims to takes us inside David's fractured consciousness, ...
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Theatre in Review: The Judas Kiss (Brooklyn Academy of Music/Harvey Theater)
Oscar Wilde died for your sins: This is the apparent theme of David Hare's play about the great disgraced Irish playwright. The Judas Kiss focuses on two key moments in Wilde's downfall: The first act, set in a ...
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Theatre in Review: Hadestown (New York Theatre Workshop)
One enters New York Theatre Workshop to find the auditorium entirely reconfigured; instead of its customary end-stage arrangement, the audience is seated arena-style, in a series of concentric circles that step down to a smallish playing ...
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Theatre in Review: Signature Plays (Pershing Square Signature Center)
Few companies have supported such a broad range of playwrights -- from the newest voices to the most established names -- as Signature Theatre. It's not too much to say that, in its early years, Signature helped to revive the fortunes of ...
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Theatre in Review: A Doll's House/The Father (Theatre for a New Audience)
"The woman question," the burning 19th-century debate about the correct place of women in society, reverberates throughout both productions currently running in repertory at Theatre for a New Audience/Polonsky Shakespeare Center, but, ...
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Theatre in Review: Paramour (Lyric Theatre)
It's no secret that Cirque du Soleil, having conquered the rest of the world, has long yearned to colonize New York. Various proposals for permanent venues in the city have been floated, without success, and the company has worked ...
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Theatre in Review: Peer Gynt (Classic Stage Company)
The John Doyle era at Classic Stage Company begins with Peer Gynt, in a production, adapted and directed by Doyle, that is handsome to look at, well-cast, and a total bore. Henrik Ibsen's original play is a ...
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Theatre in Review: The Total Bent (The Public Theater)
"We're not really doing a musical," Stew, the author and co-composer of The Total Bent, told the New York Times the other day. This is not a surprise: In Passing Strange, his previous work of whatever you' ...
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Theatre in Review: Ross & Rachel (Brits Off Broadway/59E59)
They say there are two sides to every marriage -- and in Ross & Rachel, they are both embodied by a single person. The actress Molly Vevers channels both partners in a wildly mismatched pair whose lives are unraveling ...
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Theatre in Review: The Ruins of Civilization (Manhattan Theatre Club/City Center Stage II)
Penelope Skinner has seen the future and it is wet. If you think Britain is rainy now, wait until you experience its waterlogged version in The Ruins of Civilization. Skinner's drama is set in the near future, when the ...
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Theatre in Review: Cal in Camo (Colt Coeur/Rattlestick Playwrights Theater)
When the lights come up on an actress, sitting slumped at downstage right, using a pump to extract her breast milk and looking depressed as all get-out, you somehow know that, in this production, laughs will be at a premium. So it is with < ...
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Theatre in Review: Daphne's Dive (Signature Theatre)
As often happens in neighborhood bars -- and plays about them -- the denizens of Daphne's Dive form an extended family. Quiara AlegrÃa Hudes' play chronicles tavern owner Daphne and her friends and relations over the ...
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Theatre in Review: Turn Me Loose (Westside Theatre)
Turn Me Loose could be titled The Education of Dick Gregory, as it tracks the political evolution of the comedian and his humor, from his first slickly delivered wisecracks to the latter-day jeremiads that call down ...
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Theatre in Review: A Better Place (The Directors Company/The Duke on 42nd Street)
A Better Place, a comedy about Manhattan real estate, is a property in need of a gut renovation. The perpetual New York obsession with finding chicer, more spacious, and more luxurious living space has long been a fertile ...
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Theatre in Review: Indecent (Vineyard Theatre)
Indecent begins with Lemml, a stage manager, introducing us to the members of the company; as each of them steps forward, dust falls off them in piles. (It practically pours out of their sleeves.) It's an apt image, as the ...
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Theatre in Review: City Stories (Brits Off Broadway/59E59)
James Phillips writes so beautifully that one wishes he would find more interesting things to write about. City Stories, a collection of short pieces on life in London, is filled with striking turns of phrase and ...
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Theatre in Review: Shoes and Baggage (The Cell)
Cheryl Stern, an actress and writer, is also a self-described "under-earner and over-spender" who never saw a sale she didn't like. (The words quoted come from her one and only appearance at Debtors Anonymous.) Shoes and ...
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Theatre in Review: Harper Regan (T. Schreiber Studio for Theatre & Film)
If Harper Regan were a game of baseball, it would consist of nothing but curveballs; the title character, a British woman who, in her fortieth year, finds her life slipping from its frame, is so perversely conceived that she ...
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Theatre in Review: Bianco (NoFit State Circus/St. Ann's Warehouse)
Even as Blanche DuBois and Stanley Kowalski are experiencing an emotional workout inside St. Ann's Warehouse, a circus tent has gone up outside on the plot of land adjacent to the theatre, where the members of the NoFit State Circus are ...
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