|
  Theatre in Review: Las Borinqueñas (Ensemble Studio Theatre)
Las Borinqueñas is one of the most ambitious plays we've seen this season, which is why it is among the more disappointing. Playwright Nelson Diaz-Marcano has seized upon a fascinating, complex, and sometimes shameful ...
|
|
|
|
|
Theatre in Review: Macbeth (an undoing) (Theatre for a New Audience)
This new take on the Scottish Play began with a commonplace insight: The writer and director Zinnie Harris has noticed that in Shakespeare's tragedy, Lady Macbeth, who comes on strong in the early scenes, plotting the assassination ...
|
|
|
|
|
Theatre in Review: Grief Hotel (Clubbed Thump at the Public Theater)
Say hello to Bobbi, a lady of a certain age working on a marketing pitch to a hotel chain, positioning it as an attractive place to decompress after tragedy. Employing standard advertising-industry practice, she presents the fictitious ...
|
|
|
|
|
Theatre in Review: Philadelphia, Here I Come! (Irish Repertory Theatre)
The nimblest double act in town consists of David McElwee and A.J. Shively, who collectively appear as the protagonist of Brian Friel's melancholy comedy. (Philadelphia, Here I Come! put Friel on the map, ...
|
|
|
|
|
Theatre in Review: The Who's Tommy (Nederlander Theatre)
The Who's Tommy is back, as big and shiny and empty as ever, ready to overwhelm the audience with sound and fury signifying very little. It's also looking a little long in the tooth. Adapted from the famous concept album, ...
|
|
|
|
|
Theatre in Review: Tuesdays with Morrie (Sea Dog Theatre/St. George's Episcopal Church)
There's something unexpectedly profoundly moving about Len Cariou's first entrance in Tuesdays with Morrie. The eighty-five-year-old actor, who now uses a cane, is escorted into the chantry of St. George's Episcopal ...
|
|
|
|
|
Theatre in Review: Travels (Ars Nova)
James Harrison Monaco may be the most helpful playwright in town. His new piece, Travels, is billed as "a sonic narrative collection," a term that could mean so many things, some of them distinctly unappealing. For a ...
|
|
|
|
|
Theatre in Review: Stalker (New World Stages)
I am in the unhappy position of writing a review of a show about which I can tell you virtually nothing. Indeed, almost everything about Stalker is on a need-to-know basis. Here goes: Peter Brynolf and Jonas Ljung
|
|
|
|
|
Theatre in Review: Fish (Keen Company/Working Theatre at Theatre Row)
In her new play, Kia Corthron turns her unswerving gaze on education and social equality, saying a great many things that need to be said these days. Fish begins with a master stroke, as several adolescent Black girls ...
|
|
|
|
|
Theatre in Review: Water for Elephants (Imperial Theatre)
Early on in Water for Elephants, Gregg Edelman, playing a grizzled veteran of the big top, wanders into a circus tent and muses. "Man, this place... The sawdust, the smells... it's old but it's new." That's a good ...
|
|
|
|
|
Theatre in Review: Like They Do in the Movies (Perelman Arts Center)
Like any actor with a distinguished career spanning half a century, Laurence Fishburne has plenty of stories to tell. Now he has assembled a bunch of them into a grab bag of an evening that highlights his spellbinding way with a ...
|
|
|
|
|
Theatre in Review: Corruption (Lincoln Center Theater/Mitzi E. Newhouse Theater)
There's a bare-knuckled political brawl unfolding eight times a week at Lincoln Center and the season is much livelier for it. Corruption revisits the Rebekah Brooks phone-hacking scandal, which brought down the storied ...
|
|
|
|
|
Theatre in Review: Teeth (Playwrights Horizons)
Unless you ever attended a performance of Naked Boys Singing, Teeth will most likely feature the greatest number of penises you've ever seen onstage. Of course, in Naked Boys Singing, the organs in question ...
|
|
|
|
|
Theatre in Review: An Enemy of the People (Circle in the Square Theatre)
It's like a trip back to the 1980s: This revival of Henrik Ibsen's An Enemy of the People, with Jeremy Strong and Michael Imperioli, recalls the days when Circle in the Square hosted the likes of George ...
|
|
|
|
|
Theatre in Review: Ibsen's Ghost: An Irresponsible Biographical Fantasy (Primary Stages at 59E59)
Nobody makes an entrance like Charles Busch. Playing Suzannah Ibsen, the not-so-merry widow of playwright Henrik, the actor makes his first appearance, gliding effortlessly to center stage, finding his light and pretending to look ...
|
|
|
|
|
Theatre in Review: Doubt (Roundabout Theatre Company/American Airlines Theatre)
"What do you do when you're not sure?" It's not a question that seems to trouble anyone in America these days, but that's why there's no time like the present for Doubt, John Patrick Shanley's investigation into faith ...
|
|
|
|
|
Theatre in Review: Dead Outlaw (Audible Theatre at Minetta Lane Theatre)
One thing you can say about the people behind Dead Outlaw. They're not hiding anything. As advertised, the new musical is about a deceased lawbreaker's most inconvenient corpse, for which a great many people find some ...
|
|
|
|
|
Theatre in Review: The Notebook (Gerald Schoenfeld Theatre)
Broadway is looking rather like The Book of the Month Club these days, what with the spring season featuring musical adaptations of The Great Gatsby, S. E. Hinton's young adult classic The Outsiders, and Water for ...
|
|
|
|
|
Theatre in Review: Illinoise (Park Avenue Armory)
Park Avenue Armory specializes in events best described as unclassifiable, and you won't find a better example than Illinoise, a narrative dance-theatre piece that nods in the direction of the jukebox musical. If anything, ...
|
|
|
|
|
Theatre in Review: Brooklyn Laundry (Manhattan Theatre Club/City Center Stage I)
In Brooklyn Laundry, John Patrick Shanley preaches the necessity of casting aside one's starry-eyed illusions and embracing the true satisfaction of love in the real world; to argue this proposition, he gins up the ...
|
