103 stories by "Scott Brown"
The play belongs on a pageant wagon parked outside Lambeau Field; its presence on Broadway is, to adopt the parlance, a real ball-scratcher.
This elaborate doomsday scenario about assassination, our ambient insanity, and its complex relationship with American politics was just a little too close for comfort after the events of th…
If Baz Lurhmann and Laurie Anderson got stoned listening to late-night college-radio electro-pop, Persephone is what they’d hallucinate. And whether or not you’ll dig it depends …
Ed Schmidt's haunting one-man show in his Brooklyn bachelor pad is about how theater has failed him in his hour of need.
It's a relaxed-fit evening of hip musical scholarship and guys’-night-in yammering.
And who doesn't want to see that? Ibsen's nasty John Gabriel Borkman is at its black-comic best when these two bite into it.
The Globe Theatre's Merry Wives of Windsor is a kind of juice cleanse for the theatrically besotted, overdosed, and/or toxified.
Does October 25 sound like “Soon” or "Later" to you, Sondheim fans? Whether it's sooner or later, it's certainly not now — but it is the earliest you'll get a peek at the s…
Yes This Man, the title of Mike Daisey's slender new monologue, has a kind of "Ecce Homo" quality to it, and Daisey, declaredly, plays his own Pilate here. As a white male monologist, monolo…
New York's premier investigative theater company looks into death this weekend.
Amanda Plummer makes existing look so hard in the Tennessee Williams revival.
Sir Cameron Anthony Mackintosh, friend of the working man, is bringing miserable back. All the miserables, in fact: Les Misérables " flush with brand recognition after its extreme close-up …
Shuler Hensley in The Whale.
Is Sarah Sokolovic theater's next great actress?
To the strains of "Brink of Doom" (Ã la Brigadoon), the parody institution Forbidden Broadway " skewering the Great White Way for 30 years now " reemerges after a three-year hiatus. And j…
As two revivals arrive on Broadway, a critic revisits Lloyd Webber and Rice.
Wit is in good health for its age (fourteenish, an awkward time for a revival) and risk profile (star-driven, midwinter Manhattan Theatre Club production).
In an age of endless squabbles over nothing, from the debt ceiling to foreign aid, New Yorkers know whatÂ’s worth fighting over.
