940 stories from Bloomberg
The new musical "Memphis" actually kicked around for six years before making it to Broadway, where it arrives triumphant.
This is a show both for the kid with you and the kid within you.
David Mamet wrote Oleanna in 1992, when the country was in the throes of the Clarence Thomas–Anita Hill controversy, which he transposed into academia. An Off-Broadway hit back then, the play now makes its Broadway debut in a revival starring Julia Stiles and Bill Pullman that has lost none of its power to provoke.
Overall, it's a dutiful plod, more like research for a play rather than the play itself.
Despite some funny bits, Kaufman had not yet reached the height of his comic gifts. So we get rather more competence than magnificence.
To all Jude Law fans, the Broadway revival of "Hamlet" starring him and courtesy of London's Donmar Warehouse is genially recommended. Others it will surely disappoint. Were it a car, it wou…
There are two antithetical ways of viewing Carrie Fisher's autobiographical monodrama, or monocomedy, Wishful Drinking, on Broadway. It is like a head charming in profile, but seen full face rather plain and even slightly vulgar.
The program informs us that "A Steady Rain" is the first installment of a Chicago cop trilogy already completed and presumably raring to go into production. I am not holding my breath.
It's energetic, loud, visually stunning, sometimes lyrical and often maddeningly opaque.
"Adapting" Shakespeare, with cuts, additions and rearrangements, was a theatrical industry for several centuries. What can the world's greatest dramatist do that a hack playwright or megalomaniac director cannot improve upon? Some updatings may have their merits but with Peter Sellars, all debts to reason are canceled. I have long denounced his depredations on the theater, but what he has concocted in New York with Othello—as coproduced by Oskar Eustis of the Public Theater (who thinks him a genius), and the LAByrinth Theater Company (perhaps the most obnoxious in town)—offends Shakespeare, common sense and decency.
Charm, most lacking in today's theater, abounds in Lennox Robinson's 1933 play, "Is Life Worth Living?" now joyously revived by New York's dependable Mint Theater.
Seeing Sebastian Barry's "The Pride of Parnell Street" at New York's 59E59 Theaters reminded me of what a slump modern Irish theater is in.
