The Mark Twain You Don't Know - Reviewed by ROBERT WINDELER
The title's a misnomer: Half of this grab-bag show, "Huckleberry Finn" plus an excerpt from Twain's autobiography, you could know very well; the other half you may not want to know at all.
The title's a misnomer: Half of this grab-bag show, "Huckleberry Finn" plus an excerpt from Twain's autobiography, you could know very well; the other half you may not want to know at all.
1920s movie star William Haines' own story is far more compelling than this wafer-thin tale of 20-somethings discovering themselves in New York City, which uses Haines as a symbol.
Twyla Tharp channels the spirit of Sinatra in this dreamy, sexy romp. There's no plot, but with dancing like this, who cares?
In its campy and comedic attempt to shake up common stereotypes, Pan Asian Repertory Theatre's new production rarely goes further than skin deep.
Tennessee Williams' first Broadway hit gets a thorough shaking in director Gordon Edelstein's production, and the enthralling result is the freshest, most vital account of it I've seen.
The worlds of opera, Broadway, and classical music came together at Carnegie Hall last night for a sublime concert rendering of "The Grapes of Wrath," the opera adaptation of John Steinbeck'…
Qui Nguyen and Robert Ross Parker serve up laughs and some swell fight choreography in this riff on teenage slasher movies, but this unfocused collaboration often feels recycled.
"Two Gentlemen of Lebowski" is an extremely faithful adaptation in Shakespearean iambic pentameter of the 1998 cult film "The Big Lebowski," about a stoner-bowler who accidentally gets invol…
If you like your theater gamy and a bit rough around the edges, "Caligula Maximus" will thoroughly satisfy your desires.
As I left the Metropolitan Playhouse after seeing David Belasco's 99-year-old melodrama, a slight riff on a Shakespeare line popped into my head: Who would have thought the old form to have …
The tone of Kathleen Brant's direction skews the play's balance of comedy and drama toward a strained version of the former, rendering this staging of Zona Gale's 1920 Pulitzer Prize winner …
Director David Lee's revival meets those challenges in a scrumptiously satisfying revisit to an old favorite-faithful to the original, though often fresh and inventive.
This unlikely pairing of Michael Feinstein and Dame Edna Everage resembles a TV special from the 1960s-pleasant and mildly amusing but familiar and forgettable.
This play based on Isaac Bashevis Singer's "The Unseen" is a spooky adult fable, yet despite strong performances and vivid design, it drags as much as it provokes.
T.S. Eliot's mystical and mystifying poetic drama is a tad dated, but the Actors Company Theatre makes this a stimulating "Party."
Despite some compelling writing, excellent performances, and imaginative direction, Suzan-Lori Parks' new play never quite jells. The effort is just too palpable.
This by-the-books family drama has some laughs but not much else.
Derek Ahonen's new play shifts between camp and contemplation in an uneven take on the dream deferred.
Playwright Matthew Lombardo stretches a showbiz anecdote into a two-hour play. Fortunately, Valerie Harper delivers a tour de force performance and almost makes up for the show's thinness.
It's probably wiser to retire these "Ladies," but though this once-successful play is now long, obvious, and clunky, the production shines.
Geoffrey Nauffts' tender and compassionate play about a gay couple in conflict over religion loses intimacy in its Broadway transfer but none of its power to move.
Unless you simply must see every Broadway musical ever produced or want to see a talented cast give their all for not much, let Kander and Ebb be remembered for "Cabaret," "Chicago," "Zorba"…
First the good news: The score for "The Scottsboro Boys," the final collaboration of Kander and Ebb, is a strong one, containing songs as good as any they've given us. But David Thompson's b…
Playwright Vern Thiessen cleverly plays with history in this entertaining tale of the two Soviet scientists who in 1924 successfully embalmed the body of Lenin-forever.
The undeniably dramatic true story of a great struggle for American freedom of the press seems awfully dry, coming across as theater that's good for you rather than good theater.