64 stories by "Ron Cohen"
Should Maresca's Broadway dreams come true, Broadway would only be richer for it.
This anti-war musical doesn't score total victory, but it wins many skirmishes.
If you're interested in typefaces, you'll love the start of this show, but the rest of Jordan Harrison's dystopian tale could use some redesigning.
The groundbreaking Negro Ensemble Company hits a pothole with this vapid double bill dealing ineffectually with the theme of bigotry.
Vocal pyrotechnics and a deft script make for a lively retelling, framed in an old-time radio format, of this classic science-fiction tale.
The music is admirable, but a cadre of amazing puppets make this elaborate chamber opera production totally irresistible.
Charm, smarts, and delightful performances make the familiar terrain traveled by this romantic comedy seem suddenly fresh.
Budding playwright Michael Henry Harris doesn't give birth to a championin this play about pregnancy and other marital pressures, but theproduct has promise.
Matt Pelfrey's tightly written drama works as a metaphor for today's bellicose political climate, but Joe Tantalo's expressionistic staging undercuts its emotional effectiveness.
Writer-director John Jahnke's visually arresting but dramatically obscure accounting of the story of a minor figure in Greek mythology is mostly concerned with sex and spectacle.
The tension peters out fast in this story of two spooky little orphans and their hapless overseer, but the performances bring the two kids vividly to life.
Senior citizens certainly have a right to romp around in romantic comedy, but they can use more verve and freshness than this middling script offers.
There's a lot of plot but little hilarity in Gary Morgenstein's "Right on Target," a Fringe political comedy about a mixed-race couple in Washington, D.C.
Shakespeare's "Romeo and Juliet" gets a crackling airing in this Fringe show as two terrific actors take on all the characters in a fast-moving hour.
Jessica Liadsky's "Canon in D Minor," a Fringe entry, overflows with emotion, with three actors playing one grieving heroine, but is nevertheless affecting.
The title of this Fringe show is "An Evening With Kirk Douglas," but the character serves as little more than a plot point for some very uneven comedy.
his New York Musical Theatre Festival offering has beguiling elements, but the fairy tale "Le Cabaret Grimm" spins is distressingly inane.
"The Groove Factory," at NYMF, dredges up with little charm the last days of disco as the titular club celebrates the threatening Y2KNew Year's Eve in 1999.
This rendering of Chekhov's "Uncle Vanya," from Australia's Sydney Theatre Company, starring Cate Blanchett, is a clear triumph for Lincoln Center Festival.
"Black Milk," from Palo de Agua and High Stakes Theatre, is the New York debut of acclaimed Russian playwright Vassily Sigarev, but the production falters.
"Arnie the Doughnut" is a well-executed children's musical, but there's not enough magic in this NYMF show to keep its hero from straining credulity.
"Flambé Dreams" is a lighthearted NYMF entry, filled with gags, serviceable music, and a story about a young man's ambition to become a great maitre d'.
The Flea Theater presents new and youthful Ethikos Productions in three short works by veteran dramatist Israel Horovitz, with "Beirut Rocks" the highlight.
Despite the distractions of Central Park, Boomerang Theater's "Hamlet" is a solid affair, with Zack Calhoon bringing a contemporary freshness to the prince.
A solo show written and performed by Dulcy Rogers, “I Am a Tree,” at the Theatre at St. Clements, registers more forcefully in its acting than its story.
