DeSare has matured as an interpreter; he's also become increasingly comfortable gabbing to patrons about himself and his repertoire. Always an inventive keyboard explorer, he's even craftier…
J.T. Rogers' new play of interlocking monologues inadvertently argues the case that white supremacists have been making for years, which is that they are now the oppressed ethnicity.
Prospect Theater Company's production of "The Dome," conceived and curated by Cara Reichel, is nothing if not high-minded and ambitious.
Much non-Piafian artifice goes on as Micheline Van Hautem ticks off the familiar numbers and throws in biographical data familiar to anyone who's likely to have made a point of attending. Ye…
Writer-performer Snehal Desai exhibits no comedic timing in his one-man show, stumbling into laughs rather than earning them.
You'll want to brush up your Shakespeare before going to see Company East's fabulous 85-minute adaptation of "Hamlet."
How do you dramatize an enigma? Conceiver, director, and designer Dan Hurlin, the endlessly inventive master of puppet theatre, deliberately chooses not to fill in any of the gaps.
J.R. Sullivan's staging doesn't aim to innovate; his focus is clearly on finding fresh pearls from well-worn characters.
In Jeffrey Sweet's deftly entertaining drama, Oliver (Richard Kind), a noted TV film critic, goes home again.
There's a lot going on in Charles Busch's "The Third Story," a crazy mishmash of movie moments, fairy-tale fantasy, and pseudo-psychological drama. The problem is that he's pasted too many f…
At its height, Ain Gordon's new play becomes astonishingly vivid and intimate.
The thing about picking a pair of plays to work in resonance with each other is that each play has to succeed as a call and response as well as be a successful singular work of theatre.
The love affair between Émilie, the Marquise du Châtelet-Laumont, and François-Marie Arouet de Voltaire might make for a marvelous film. The trouble is, as "Emilie's Voltaire" i…
How do you compellingly relate the life story of Mexican-American modern-dance pioneer José Limón? Ingeniously!
Playwright George Barthel has certainly created a charming -- if unlikely -- fantasy version of the slums of late 19th-century New York in "Alley of Masks."
Despite the weakness of the songs, this is a mostly enjoyable show, deftly staged, with on-target performances.
Spotlight on Acting Schools and Coaches
It's worth going to see "When in Disgrace (Haply I Think on Thee)" just to hear the epithet "douche bag" spoken in iambic pentameter.
As he minces, flounces, and flits, watching David Greenspan as Edward Hyde is a trés gay fey treat.
"Coming of Age in Korea" offers a twist on stage musicals based on movies: It turns the book scenes into a film and interpolates live musical numbers that comment on the film's story.
That Virginia Woolf's only play lives up to its name largely owes to the ideal interpretation of director Anne Bogart and her ever-versatile SITI Company.
While proclaiming theatre dead, the show's sharp, thoughtful writing, high-impact direction, and skillful performances justify its preservation.
Charlotte Moore's revival of Brian Friel's 1979 play is admirable but uneven.
This Blanche is both a loving tribute to a dazzling character and an unforgiving political commentary.