8,501 stories from Backstage
Daniel Kitson's inventive and winning solo show centers on the massive correspondence of a lonely man contemplating suicide. But the replies postpone his date with the noose.
In 75 minutes, actors Thomas Jay Ryan and Christina Rouner recapitulate the 95-minute film's screenplay, voicing all the characters (though not inhabiting them) in a rapid and sometimes conf…
Conceiver-director Annie Dorsen sets two laptops to "chatting" to find out if they can equal human performance interaction. They can't.
Rick Crom's material is inconsistent, but a gifted quartet sells it with panache in this often funny topical revue.
These four one-acts from the Common Tongue theater company make up an evening of mediocre theater weighed down by the trite theme of connectedness.
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.
Lightning doesn't strike twice in this follow-up to the rousing "Girls Night: The Musical." This time the show is a degrading, embarrassing mess.
Inventive, amusing staging often trumps the consistency of content here, but the multiple subplots in search of a through-line are frequently witty and never dull.
This exercise in absurdism at the Under the Radar festival is over the top and wholly diverting.
Director Travis Chamberlain's staging of Tennessee Williams' obscure 1970 one-act in a claustrophobic room at the Hudson Hotel on West 58th Street is a tiny, pitch-perfect triumph.
Radiohole's spoof of Douglas Sirk's film "All That Heaven Allows" plays like a bunch of kids putting on a show in their backyard and feels just a bit redundant.
Susanna Hamnett bravely introduces Shakespeare's "King Lear" to younger audiences, but the results are mixed.
The first act of this satire on American political extremism sizzles and is as irreverent as "Bloody Bloody Andrew Jackson," but the fire is soon snuffed out in Act 2.
One has to admire the Belarus Free Theatre for its dedication and courage, but its offstage story of getting to the Under the Radar festival is more gripping than its Harold Pinter program.
Two actors pick up where Sophocles'' "Antigone" left off, in a stimulating and innovative theatrical experience that deconstructs the power contests of the play and applies them to father-so…
Adam Bock's new play seeks to inflate its small naturalistic tale via a mysterious central metaphor and ends up as neither fish nor fowl, despite the efforts of a fine cast and Tripp Cullman…
You won't leave this show feeling too good about America, but you'll admire the artistry and fervor.
This expansive musical tribute to Judy Garland by her daughter suffers from being truncated and crammed into a room that's too small, but it succeeds in communicating the love they shared.
Hoping to cash in on the "Twilight" craze, the producers of this inept Off-Broadway revival of a horror classic have cast a hunky Italian heartthrob as the king of the vampires. The results …
Though the show's roots as a concert are always on view, Daniel Alexander Jones' heartfelt performance in the title role, offbeat and delicious, grounds this entertaining musical as theater.
As we enter the second decade of the 21st century, William S. Gilbert and Arthur Sullivan's "The Mikado" is as fresh and funny as the night it premiered at London's Savoyard Theatre in 1885.
In a world in which Blue Man Group and Cirque du Soleil are staples of the mainstream, the troupe's abstract puppets seem oddly antiquated.
In a world in which Blue Man Group and Cirque du Soleil are staples of the mainstream, the troupe's abstract puppets seem oddly antiquated.
Bonnie Langford has taken the traditional autobiographical approach. The result is mostly, to paraphrase a song from Langford's only Broadway credit, friendly and funny and fine.
That thumping sound you hear is my heart in overdrive. I've fallen head over heels for the young British physical-theater company Inspector Sands and its anarchic sense of humor.
