278 stories by "Erik Haagensen"
Tennessee Williams' centenary is being used as the pretext for trotting out this "long-buried" piece, an early sketch for "The Glass Menagerie," but it seems more an act of exploitation th…
Director Lucy Bailey's full-volume approach to Shakespeare's tragedy tends to flatten it into melodrama, but one that hurtles forward with such speed that we're largely swept along with it.
David Farr's meticulous direction of the outstanding RSC ensemble somehow marries the stark drama and playful comedy of this problematic work in a compelling production.
In a virtuosic evening concerned with the creation of character, David Greenspan hilariously plays all the parts in a 1920s farce, then follows it with an intriguing monologue on his acting …
A lack of dramatic action, underwritten characters, and an overwritten score combine to sink this musical fantasy from Broadway vets Maury Yeston, Thomas Meehan, and the late Peter Stone.
Writer-performer Robert Chionis' sincere almost-one-man jukebox musical about a young gay boy from the sticks in NYC at the start of the AIDS epidemic is poorly scripted and awkwardly deli…
"Gentlemen's agreement" is an archaic term that is nevertheless perfect for describing the unwritten contract between publications and theater producers known as the "review embargo."
Playwright Jon Marans' new play about the mixture of Orthodox Judaism and homosexuality exudes a tantalizing promise but has yet to marry its concerns with fully realized characters.
Dan Fingerman's adeptness at characterization and fine ear for contemporary speech sufficiently mitigate his naive plot and structure.
The Royal Shakespeare Company is not offering the high-wire act of an Olivier but a thoroughly compelling ensemble rendition of this bleak tragedy in which the play's the thing.
Kara Lee Corthron may be a promising playwright, but this ambitious two-and-a-half-hour work is too tonally erratic and in desperate need of a disciplined dramaturge.
A hit in Washington D.C.'s 2010 Terrence McNally festival, this production arrives on Broadway in new and improved shape, with Tyne Daly delivering stage magic as opera diva Maria Callas.
This brand-new professional company is a bit ahead of itself attempting James Baldwin's complex 1964 drama about race in America, but it deserves points for the attempt.
Andrew Frank and Doug Silver's delightful musical salute to Greenwich Village's history and denizens is a refreshing breeze of a show—tuneful, literate, sassy, and sharp.
The second powerful play in a year to tell the story of a horrifying 1920 purge of gay students at Harvard, the Plastic Theatre's communally written show is a triumph.
When there's as much talent on display as there is in Daniella Shoshan's new play, it's dispiriting to have to report that the show comes across as one hot mess.
It's clear that a refreshingly original sensibility is at work in Michael Mitnick's consistently inventive and surprising comedy-drama about love and commitment.
Author-actor Jeff Key's intelligent, evocative, psychologically shrewd solo show about serving as a gay Marine in the Iraq war is one of the finest of its genre I have ever encountered.
Amy Herzog's new play is a companion piece to her captivating "After the Revolution," but it's more successful as character study than as a fully realized dramatic work.
Director-adaptor Tom Andolora's inspired site-specific staging of Edgar Lee Masters' penetrating study of small-town American life makes up in atmosphere whatever it may lack in polish.
Downtown drag queen Linda Simpson travels above 14th Street for the first time with her new comedy, which though ramshackle contains plenty of laughs and a memorable performance from Patri…
Thoughtfully adapted and directed by Moisés Kaufman from an unproduced Tennessee Williams screenplay, this taut and fluid production unsettles with a quiet intensity.
Barbara Cook, a superb actor who knows a thing or two about the human condition, shares her knowledge in this artfully understated, deeply affecting show.
Director Jackson Gay's nurturing production of Rachel Crothers' 1918 drama flies by swimmingly for two acts but can't entirely overcome a sudden lurch into melodrama.
Tony Kushner's Corneille adaptation is a penetrating and poetic consideration of human desire told with a shimmering theatricality and a joy from start to finish.
