166 stories by "Marc Miller"
Kaufman and Hart's satire of celebrity and self-reinvention still amuses, but Jim Brochu's blustery Sheridan Whiteside doesn't reverberate as fully as one would like.
Milan Stitt's dimly remembered 1970s success is historical drama, courtroom nail-biter, whodunit, and religious meditation rolled into one, and Retro Productions mostly does it proud.
Elaine Jackson's two-hander about white and black disaffected youth suffers from uneven and often unclear writing, but while Yasha Jackson struts the stage, you're riveted.
Tor Hyams' and Adam LeBow's musical about a reunion at a musical theater camp plays by the rules and does everything competently, but without excitement or individuality.
T. Sivak and E. Gelman's riffing on a 1962 bad-movie classic is mostly bad puns and feeble joking, partly redeemed by well-crafted music and an excellent cast.
Aron Eli Coleite's dramedy about psychiatrists and how they affect their families is smart and perceptive, but also heavy and frustratingly unresolved.
A couple of flaws aside, the Seligmann Brothers' corporate satire is big old-fashioned musical-comedy fun, with Klea Blackhurst a top banana for the ages.
Drew Gasparini and Louis Sacco's bromance musical has fine moments, provided mainly by Andy Mientus and Andrew Kober, but it's severely credibility-straining and weighted with a so-so scor…
Christopher Kipiniak is still excellent, but C.S. Hanson's extension of a one-act about a Russian emigrant investor traffics in needless detail and wild coincidence.
Andrew Belcher's scattered satire of immigration law, government inefficiency, and much else lacks clarity, humor, resolution, and anyone on stage to root for.
Brian C. Petti's Irish drama is an ungimmicky, affecting exploration of a sad chapter in his family's history that avoids clichés as it keeps us pulling for its likable hero.
This whirlwind musical tour through Wonderland, while not particularly well-wrought, does convey a childlike wonder and benefits from an imaginative small-scale staging and short running t…
An often lovely score gives Joshua Salzman and Ryan Cunningham's extremely generic, haphazardly structured musical about 20-somethings in Manhattan what individuality it has.
This new Antony and Cleopatra musical comedy wants to be a burlesque laughfest in the style of "A Funny Thing Happened on the Way to the Forum," but it's deficient in pretty much every dep…
Overacting and a too-frantic pace do not entirely obscure the charms of Norman Krasna's smart, easygoing World War II comedy.
Maxwell Anderson's classic look at evil veiled by innocence needs better production values and a more calculating murderess, but it's an enjoyable old-fashioned well-made play.
