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  Theatre in Review: Othello (Bedlam/West End Theatre)
I know the fashion is for stripped-down productions of classic plays, but Bedlam's take on Othello is so bare bones as to be positively nude. The set, by director/cast member Eric Tucker, consists of a white wall on ...
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Theatre in Review: The Lost Boys (Palace Theatre)
I think I can safely say that The Lost Boys is the best vampire musical New York has ever seen. This is the backhanded compliment of the decade, of course, but compared to Dracula, the Musical; Dance of the Vampires< ...
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Theatre in Review: 73 Seconds (En Garde Arts)
Just in time for Mother's Day, we're getting a matched set of shows in which middle-aged playwrights brace themselves for the loss of their beloved mothers. Trouble is, they seem more worried about themselves than the ladies in question. ...
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Theatre in Review: The Rocky Horror Show (Roundabout Theatre Company/Studio 54)
I first saw The Rocky Horror Picture Show in a Rhode Island cinema in 1978. If, as I pelted with slices of toast and rolls of toilet paper, someone had said that, fifty years hence, I would be attending the second major Broadway ...
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Theatre in Review: Schmigadoon! (Nederlander Theatre)
Schmigadoon! is about a pair of troubled lovers who find themselves trapped in a musical, and whether you feel captive at the Nederlander Theatre these nights may depend on your affection for the Apple TV+ series from which
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Theatre in Review: Beauty Freak (the cell)
There's a telling moment not too far into Beauty Freak that crystallizes everything one needs to know about its central character, the notorious filmmaker Leni Riefenstahl. She is riding high, having landed the commission ...
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Theatre in Review: Joe Turner's Come and Gone (Ethel Barrymore Theatre)
Joe Turner's Come and Gone was the third August Wilson play to be seen on Broadway, but it was the first to reveal the full scope of his ambition. Ma Rainey's Black Bottom, his debut work, centers around a ...
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Theatre in Review: KENREX (Lucille Lortel Theatre)
KENREX is a weird hybrid, a British take on a venerable American true crime saga, the kind of thing that used to rouse Nancy Grace's carnivorous instincts. Go online to find Morley Safer's 60 Minutes report from 1981; ...
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Theatre in Review: Fallen Angels (Roundabout Theatre Company/Todd Haimes Theatre)
Rose Byrne and Kelli O'Hara are holidaying this spring, not in Nice or Capri, where surely they would be a sensation, but onstage at the Todd Haimes Theatre, where they are making short work of a minor, rarely seen Noel ...
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Theatre in Review: Rheology (Playwrights Horizons)
Bulbul Chakraborty is an exceptionally indulgent mother, almost recklessly so. This accomplished physicist has not only signed up to collaborate with her son, Shayok Misha Chowdhury, on a play starring them, but she has ...
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Theatre in Review: Beaches (Majestic Theatre)
Accept no substitutes: These are words I associate with the advertising of my youth. They certainly apply to Beaches, a dutiful, yet blurred, copy of a best-selling novel and hit film from decades past, resurrected again in ...
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Theatre in Review: The Fear of 13 (James Earl Jones Theatre)
Maybe truth really is stranger than fiction: Consider the case of The Fear of 13, a real-life story that, onstage, repeatedly fails to convince. The horrific prison journey of Nick Yarris has been recounted in a memoir and ...
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Theatre in Review: The Balusters (Manhattan Theatre Club/Samuel J. Friedman Theatre)
The Balusters is dedicated to the proposition that to sit on any committee is to be consigned to a special circle of hell, one that Dante would have found unjust and cruel and that would have left Sartre begging for mercy. ...
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Theatre in Review: Cats: The Jellicle Ball (Broadhurst Theatre)
Having sashayed uptown following its 2024 debut at NYC PAC, Cats: The Jellicle Ball delivers at least four indelible theatrical moments. The production's conceit views the now-and-forever musical, based on a collection of ...
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Theatre in Review: Proof (Booth Theatre)
We've had so many star vehicles, especially revivals of familiar works, go awry in recent seasons, but here's one that blessedly exudes a sense of competence. David Auburn's drama -- a smash hit logging 917 performances in the days ...
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Theatre in Review: Becky Shaw (Second Stager/The Hayes Theater)
Gina Gionfriddo's glittering black diamond of a comedy, a bright light of the 2008-09 theatre season, returns, still brimming with scathingly unsentimental observations about class, dysfunctional families, and the advisability (or ...
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Theatre in Review: The Adding Machine (The New Group/Theatre at St. Clement's)
In The Adding Machine, Jennifer Tilly is a household demon, a walking aggravation, a nagging chatterbox, and one can't help loving her for it. As the aptly named Mrs. Zero, ensconced in her marital bed, draped in a ...
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Theatre in Review: Titanique (St. James Theatre)
I first saw Titanique during its early run in a tiny theatre located under a Chelsea grocery store; it was sloppy, scrappy, slapdash, and already a hit with its well-oiled gay target audience. (The laugh quotient, I assume, ...
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Theatre in Review: Scorched Earth (St. Ann's Warehouse)
Scorched Earth doesn't fully come to life until the dead start to talk. Before then, this piece, written, directed, and choreographed by the Irish theatre artist Luke Murphy, is a strange, if intriguing hybrid of crime ...
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Theatre in Review: Death of a Salesman (Winter Garden Theatre)
In Death of a Salesman, Nathan Lane gives us his Lear and Joe Mantello frames Arthur Miller's play not as the sorrows of one working stiff but the collapse of an entire way of life. Scholars have debated ...
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