1,793 stories from Theater News Online
It may not measure up completely to past performances, but anyone who hasn t seen Hair is urged to go.
Though not the most unique or exciting staging this play has seen, Greg Hicks gives a captivating performance as Leontes.
Director Rupert Goold appears to have little interest in the play itself, stuffing it instead with overdone displays of violence, fire and weird costume juxtapositions.
Even though essentially a monologue with some opera performances thrown in, the play is one of Terrence McNally’s most compelling works.
The newly constructed, 230-ton, 975-seat theater reconstructs the original Globe.
Opera fans will hardly recognize Peter Brook’s bold adaptation.
While the viewpoints therein feel overstressed by today s standards, this production retains the play s charm and makes a revival worthwhile.
Passing virtues aside, here the scales tumble toward the plodding and dull.
Shakespeare in the Park isn t likely to draw a line down the street this year.
Harvard s dirty secret from 1920 gets dragged out of the closet.
The life-sized puppetry is the biggest highlight of this multiple Tony winner.
Now that the Tony Awards have finally come and gone, it’s time to take a look at the cast albums of six new Broadway musicals from the past season.
Big shows brought in record money, but some of the smaller productions were the ones that shined the brightest.
Donna Murphy s comic delivery and powerhouse voice are on full display. Unfortunately the play as a whole is nothing to sing about.
Lynn Nottage takes a different approach with her newest play, still handling serious material, only this time with a bit of farce.
Any production of Follies , even if imperfect, is cause for celebration by Sondheim fanatics.
Sister Act may not be a work of art, but it is a lot of heaven-sent revelry.
This tribute revue of Cy Coleman s work packs a punch of heavy-hitting vocalists and former collaborators, with a couple of new songs as well.
This enduring dark comedy falls short of its full comedic and tragic potential.
Stripped to the essentials, this ageless tragedy excoriates anew.
Despite pressing a lot of the right buttons, this production fails to strike the right balance between its mundane madness and the characters’ collective thirst for something great.
Tony Kushner has an equally good ear for ideological infighting and family conflict, and the two are inextricably intermixed here.
Derek Jacobi turns out a Lear who is both monstrous and humanly fragile in a production saddled up close to the audience.
Larry Kramer’s incendiary play about the early days of confronting AIDS has gained historical heft and dramatic power since it was written 25 years ago.
The final glory is found in the extraordinary range and depth of Derek Jacobi s sense of grandeur and majestic folly.
