86 stories by "Jessica Branch"
An excellent cast brings to life complex characters struggling with unfulfilled lives.
With its sprawling, epic storyline, it takes serious ambition to put on this play.
This new comedy from Mark Gerrard deftly takes on monogamy, mortality and sexual liberation.
Philip Ridley’s post-apocalyptic play paints a nightmarish picture but fails to make the characters relatable.
The musical version of Matilda stays true to the spirit of the book while making the story its own.
The central father-daughter relationship remains as compelling today as it did in 1947.
Underneath the provocative, shocking elements of Burning lies a play that ambitiously examines issues of love and identity.
All the sense and self-control in their bodies can t keep two firebrands from their bipolar magnetization.
Although fans of the movie will get the classic scenes they came for, the show feels more like a Christmas-themed revue than a finished work.
Cherry Jones leads a great cast in Sarah Treem s new play about women in the 70s discovering feminism.
This dusted-off 60s farce feels painfully old-hat and predictable.
Although the play lacks the pace and sense of socio-political setting that the film accomplishes, watching these actors makes this a worthy night of theater.
A great performance by Tom Hanks can t completely make up for a storyline that s a little thin.
While much has been made of Arcadia s 19th century intellectual intrigue, the human complexities, which drive this piece, could have used some more gas.
The more facts the audience learns about the encounter at the center of the play, the more the meaning eludes them.
This re-imagined version of Alice brings much in terms of spectacle, but the actual show doesn’t live up to Lewis Carroll’s original.
The years have stolen none of the merits from Edward Albee’s dyadic drama.
A contest to see who can keep their hand on a car the longest is turned into a quality musical.
A flawed rock opera to begin with, this latest incarnation comes off as lackluster despite the efforts of a cast of fine voices.
The characters in Zoe Kazan’s new drama splash you in the face with their issues from the moment they hit the stage.
The strongest family resemblance among these three short plays is that they all fall far short of their authors’ considerable talents.
The role of the protagonist is a worthy challenge for Olympia Dukakis , but the rest of the play offers a setting decidedly unworthy.
Holland Taylor’s new play pays homage to late Texas Governor Ann Richards.
While the singing and dancing are acting are quite good, someone forgot to put the same amount of effort into the plot.
High production value and special effects can t save this soulless adaptation of the film.
