1,793 stories from Theater News Online
These two solo shows offer meditations on big topics but don t make much of an impact.
This take on Irving Berlin’s 1950 musical comedy is a smooth but unremarkable ride.
Sebastian Barry is a mesmerizing writer, but audiences may find this play unsatisfying in the end.
Laura Benanti s performance should silence any critics who say she s too old for the lead role.
Robert Bolt s production dramatizes the life of Sir Thomas More, who was willing to put his principles on the line.
This is a fun musical about a nice Jewish boy with maxed-out credit cards and zero game with women.
Calvin Trillin brings a real-life love story back to life.
Sebastian Barry s latest about two cellmates growing close is just too ludicrous to buy into.
Fine performances can t make up for the lackluster script by Stephen Belber.
Despite the accomplished actors playing the brothers, this production fails to achieve the chemistry to bring Shepard s play to life.
Playwright Nassim Soleimanpour builds a unique dramatic device that’s all heart.
Jack Neary has written an intriguing play, but the second act has a few too many twists for its own good.
Many of the productions of the past year were tinged with a political aura.
The musicians are skilled, but the story about conductor Arturo Toscanini is steeped in sentimentality and smarminess.
A promising young playwright plumbs the vicissitudes of recovery.
Emily Mann’s play paints a vivid portrait of the pioneering journalist and feminist Gloria Steinem.
This is an opera so beautifully played, sung and designed that one can forgive any hollowness in the story.
The Moonlight writer offers a big-hearted portrait of young African Americans navigating class and sexual differences in private school.
While the orchestra performance and set design are amazing, Bartlett Sher’s staging has a few kinks to work out.
Director Trip Cullman conjures a gorgeous conspiracy of elements with Tarell Alvin McCraney’s memory play.
Todd S. Purim s engrossing book outlines all the ways that Rodgers and Hammerstein forever changed musical theater.
Each of the many characters in Jez Butterworth s remarkable drama is drawn with distinct detail.
Jeremy O. Harris experimental play is sure to make many people uncomfortable, as intended.
Aaron Sorkin has left his fingerprints all over this stage adaptation, to mixed results.
Jeff Daniels puts in a great performance, but there s an element missing here that was essential to the book and film.
