278 stories by "Erik Haagensen"
"A Letter to Harvey Milk," at NYMF, mixes the Holocaust, political assassination, cute Yiddish humor, and earnest Hallmark sentimentality to queasy effect.
"Living With Henry," which comes to NYMF from Canada, is Christopher Wilson's heartfelt attempt to examine his experiences of living with an HIV infection.
"Swing State," a NYMF show about the unlikely friendship that arises in Ohio between a gay chiropractor and a born-again kindergarten teacher, is specious.
"Monty Clift, the Rarest of Birds," a one-man show in the Fresh Fruit Festival starring its co-writer Omar Prince, has potential but needs more work.
Manuel Igrejas' "Miss Mary Dugan," in the Fresh Fruit Festival, is a slight but charming metatheatrical diversion featuring two winning performances.
Michael Ogborn's frantic "Baby Case," a New York Musical Theatre Festival entry about the infamous 1932 Lindbergh kidnapping case, trivializes tragedy.
"Tiny Bubbles," Richard Willett's new alcoholic comedy from New Directions Theater, raises some interesting questions but seems afraid to explore them.
Gratifyingly intelligent, richly observant, and immensely enjoyable, the new musical "Dogfight," at Second Stage, directed by Joe Mantello, is a stunner.
Prospect Theater Company's production of Rob Urbinati's adaptation of Cole Porter's "lost" musical, "Nymph Errant," directed by Will Pomerantz, doesn't fly.
Alan Cumming's almost one-man "Macbeth," in the Lincoln Center Festival, is undone by its undercooked conceit of being delivered by a psychiatric patient.
When author-actor Cheryl Howard's "The Sensational Josephine Baker" debuted Off-Off-Broadway in 2010, it had promise, but the right work hasn't been done.
Jim Henry's "7th Monarch," on Theatre Row, is a mightily stale mystery-thriller with big credibility issues, despite a fine cast including Michael Rupert.
"Love Goes to Press," the sole play by noted war correspondents Martha Gellhorn and Virginia Cowles, at Mint Theater Company, is an uncertain affair.
Greg Pierce’s uneven two-hander "Slowgirl" inaugurates Lincoln Center's inviting Claire Tow Theater with a voice that's clearly worth cultivating.
Director Scott Ellis' production of Mary Chase's classic comedy "Harvey," at Roundabout Theatre Company, starring Jim Parsons, is a hell of a lot of fun.
Patti LuPone christens the snazzy new nightclub 54 Below with an evening of songs structured loosely on the idea of travel, and the result is magic.
Playwrights Horizons has another winner with Gina Gionfriddo's "Rapture, Blister, Burn," a caustic and moving examination of the state of feminism today.
Kenneth Lonergan’s thudding comedy “Medieval Play,” at Signature Theatre, wastes the talents of Josh Hamilton, Tate Donovan, Halley Feiffer, and more.
Encores! fizzy concert staging of “Gentlemen Prefer Blondes” is enjoyable, with an efficiently professional turn from Megan Hilty as the iconic Lorelei Lee.
This 92nd Street Y Lyrics & Lyricists series look at Noël Coward and Cole Porter is undercooked, faring best when Edward Hibbert and Harriet Harris perform.
An electric surge of passionate commitment courses through the ReGroup Theatre's production of Robert Ardrey's 1939 anti-war fantasy "Thunder Rock."
“Something for the Boys,” Cole Porter’s 1943 vehicle for Ethel Merman, is as slapdash as they come, but Musicals Tonight! makes it entertaining anyway.
This tribute to the great Ethel Waters, with Michael Feinstein, Adriane Lenox, Tracie Thoms, and Catherine Russell, from Jazz at Lincoln Center, is a honey.
David Rabe’s “An Early History of Fire,” at the New Group, looks at the complacency of early 1960s America with a knowing eye but meandering dramaturgy.
The remarkable Metropolitan Playhouse and talented director Alex Roe are having an off day with Clyde Fitch and Edith Wharton's "The House of Mirth."
