278 stories by "Erik Haagensen"
Director Terry Schreiber and his talented actors largely succeed in pulling off David Storey's expansive exercise in plotless naturalism, despite being hampered by a tiny theater.
Coming hot on the heels of "The Orphan's Home Cycle," Signature Theatre's extraordinary production of Tony Kushner's masterwork may give the company the theatrical event of the season for th…
John Osborne and Anthony Creighton's lost play is unquestionably fascinating as a historical artifact. Unfortunately, it plays like an episode of "The Donna Reed Show" on crack.
This tale of an endangered Russian journalist and her American husband seeking refuge in rural New York with two of his former close friends, now married, never coheres.
The 73-year-old "The Cradle Will Rock " retains every drop of its passion as it slices mercilessly at the dark heart of untrammeled American capitalism, even if director Larry Marshall's pro…
Craig Wright’s explosively funny play is 100 minutes of high-octane bliss, with a tour-de-force turn from Michael Shannon blazing at its center.
Passionate, witty, endearing, furious, and fabulous, performance artist Tim Miller witheringly assesses America's shortcomings on gay (and other) issues while somehow still inspiring hope.
This highly promising collaboration between playwright John Guare and director George C. Wolfe never fulfills its laudable ambitions despite Lincoln Center's lavish and loving production.
Bonnie Langford has taken the traditional autobiographical approach. The result is mostly, to paraphrase a song from Langford's only Broadway credit, friendly and funny and fine.
That thumping sound you hear is my heart in overdrive. I've fallen head over heels for the young British physical-theater company Inspector Sands and its anarchic sense of humor.
This piece of extremely English comic frippery is lightweight yet undeniably funny. Fans of "Fawlty Towers" and "Little Britain" should have a fine time.
Wryly witty and warmly embracing of its characters' eccentricities and foibles, A.R. Gurney's generation-gap tale is a charmer—funny, observant, and altogether winning.
Director Ivo van Hove's deconstruction of Lillian Hellman's sturdy melodrama comes off as an acting exercise that would probably be very helpful somewhere around the middle of rehearsals.
Julie Gilbert and Frank Evans' new play about the lifelong love affair between Marlene Dietrich and German writer Eric Maria Remarque is diverting, but it needs a greater purpose.
A Little ‘Evening' Music
If any production can undo the decades of unwarranted critical scorn heaped on this Tennessee Williams drama, director Michael Wilson's mesmerizing account is the one.
Austin Pendleton's one-step-above-a-stage-reading production of Tennessee Williams' play, short on poetry and atmosphere, never resonates.
W.H. Smith's 1844 "The Drunkard" is a seminal play in American social and theatrical history. It was the nation's most popular drama until the advent of "Uncle Tom's Cabin."
Writer-director Bob Sloan's biographical play about Judy Holliday is hagiographic entertainment that skates lightly across the surface of its subject's life.
David Hay's new comedy-drama is thin but reasonably entertaining for an act and a half, then goes spectacularly off the rails, over the cliff, and smashes to bits on the rocks below.
Mandy Patinkin's insufficiently shaded, over-the-top performance undercuts Rinne Groff's intriguing new play about author Meyer Levin and his obsession with "The Diary of Anne Frank."
Before you can play with reality, you have to establish one, something Tom Jacobson's "The Twentieth-Century Way" never does.
David Auburn's adaptation of Langdon Mitchell's 1906 divorce comedy is undeniably entertaining, but it also makes fundamental changes both in what Mitchell wanted to say and how he said it.
This fine concert version of Maxwell Anderson and Kurt Weill's rarely performed 1938 musical political satire can't disguise the show's flaws, but American musical history buffs shouldn't mi…
Leonard Bernstein's final stage work marries a strong score with a flawed libretto. Nevertheless, it's essential viewing for musical theater lovers.
