Clemenza & Tessio Are Dead
Author-producer Gregg Greenberg’s somewhat clever sketch idea has been extended to a full-length play, with ever-diminishing results.
Author-producer Gregg Greenberg’s somewhat clever sketch idea has been extended to a full-length play, with ever-diminishing results.
Why anyone would want to see a mild musical is beyond me, but if you're in the mood for one, pay a visit to "The Extraordinary Ordinary."
"Goodbye New York, Goodbye Heart" centers on Caroline, an Australian girl who receives a wedding invitation via email from a friend who committed suicide three months earlier.
Passionate, witty, endearing, furious, and fabulous, "Lay of the Land" witheringly assesses America's shortcomings on gay (and other) issues while somehow still inspiring hope.
In this amiable romantic comedy, a Christmas gift from Steven Banks, a little more "naughty" would enliven the prevailing "nice."
This stunning adaptation of Franz Kafka's classic novel of alienation will have you believing a man can crawl up walls and at a much cheaper ticket price than "Spider-Man."
No one is spared Jackie Hoffman's acid tongue in this riotously funny kvetchfest. Everything from Holocaust movies to her current gig in "The Addams Family" gets royally roasted.
This new one-man holiday show has its moments but fails to ignite good cheer in the audience's' heart.
Carl Caulfield's 55-minute one-man play about Peter Sellers is short on character insight and so self-referential that it can border on opacity.
This offbeat, mildly amusing cabaret-style adaptation of the dark fairy tale is performed by highly skilled comic actors.
If you can pony up some extra cash for these pricey tickets, I'd strongly advise you to catch a performance of Cirque du Soleil's dazzling work.
Playwright Nick Jones' exercise in style is far too pleased with itself and its jejune juxtapositions of period behavior and contemporary snark, amounting to little more than an overextended…
The Civilians' newest documentary musical theater piece artfully serves up the issues surrounding and emotions inspired by the proposed development of the Atlantic Yards in Brooklyn, amusing…
Neil LaBute reverts to his formula of brutish protagonists and political incorrectness in this twisted morality tale. TV star David Duchovny lacks stage presence.
Two one-acts from different periods in his career display Harold Pinter's range and give a quintet of New York's finest actors the opportunity to explore the depths of his famous pauses.
In this technically adroit production, writer-director Edward Einhorn has crafted an eerie, strikingly designed adaptation of Philip K. Dick's heady post-apocalyptic novel.
Charles Smith's romanticized retelling of the marriage between the daughter of civil rights activist W.E.B. DuBois and poet Countee Cullen traffics in superficial comedy at the expense of co…
Acted with passion and commitment, this eloquent production is a rare chance to see one of Ibsen’s least-produced masterworks.
Brendan Fraser and Denis O’Hare share terrific rapport as two polar-opposite social misfits released into the world from a state mental institution in this quirky, intimate comedy-d…
The invaluable Metropolitan Playhouse explores George L. Aiken's stage adaptation of Harriet Beecher Stowe's anti-slavery novel with intelligence and invention. The result is absolutely fasc…
Masterfully crafted, ingeniously musical, naturally lyrical, and bubbling with pleasing body shapes and effervescent motion, Lar Lubovitch's choreography is the pink champagne of modern da…
Ultimately, this "Bells" is a pleasant-enough serving of a rather ramshackle yet endearing Jule Styne–Betty Comden–Adolph Green mid-career musical comedy.
An entire evening of Dwight Rhoden's choreography is exhaustingly monotonous. The dances feel like chains of unmotivated tasks, which all become a wearisome waste of energy.
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.
This highly promising collaboration between playwright John Guare and director George C. Wolfe never fulfills its laudable ambitions despite Lincoln Center's lavish and loving production.