Pinter Is Still Pointing the Way, With Shadows and Darkness By BEN BRANTLEY
The best new plays to come out of London in the past several years share Harold Pinter's respect for the unknowability of people.
The New York International Fringe Festival, which ended on Saturday, is annually salted with imperfect, promising work. Here are a few worth mentioning.
When Network Television Was Willing to Educate By ANTHONY TOMMASINI
Given television's current anemic involvement with arts education, Leonard Bernstein's historic Young People's Concerts, recently issued on DVD, seem more astounding than ever.
The Bottom Line, a Place Where the Music Always Came First by JON PARELES
For a music lover, the club, which closed quietly on Thursday, always seemed too good to last. In the end, it seemed, its owners weren't greedy enough.
Two Comedies From Milne, Before He Dreamed of Pooh by WILBORN HAMPTON
The Mint Theater Company is seeking to reintroduce New York audiences to A. A. Milne the playwright with two spiffy new productions.
Saroyan, Melville and Big Dreams by BRUCE WEBER
Current productions by two midwestern theater companies illustrate how testing the boundary between grandeur and grandiosity is treacherous ground.
A Queen Musical, Rocking the Las Vegas Strip By CHARLES ISHERWOOD
"We Will Rock You," a dopey new musical showcasing the back catalog of the rock group Queen, is making its North American debut on the Strip in Las Vegas.
Future as Prologue in Two New Dramas by BEN BRANTLEY
Current takes on past visions of the future come from two of this country's most exciting playwrights, August Wilson, whose "Gem of the Ocean" recently opened at the Goodman Theater, and Richard Greenberg, whose "Violet Hour" has been staged by the Steppenwolf Theater Company.
As a title, "Tiny Kushner" sounds like a joke, and it is, of sorts, a self-deprecating acknowledgment by the playwright Tony Kushner that he generally writes long.
It's Gloves-Off Time for an Angry Arthur Miller by BRUCE WEBER
Arthur Miller has always held America to a higher moral standard than it has ever achieved. So perhaps it's no surprise that with his new play, "Resurrection Blues," he's getting fed up at last.
The Freedom Center, the Drawing Center, the performing arts center that would house the tiny Signature Theater Company and Joyce Theater - all now risk being dumped, either because they are …
On the evidence of Robert Longbottom's faithful but unevenly acted production at the Kennedy Center, "Mister Roberts" remains a sprightly but modest play.
Striving for Authenticity With Ye Olde Guesswork By JOHN ROCKWELL
Two notable efforts, one at the Globe and the other at the BBC Proms festival, pointed toward new ideas for staging Shakespeare and Wagner.
Kitchen-Sink Drama Gets a New Meaning by BRUCE WEBER
Each weekend, Ed Schmidt performs his one-man play "The Last Supper" in the kitchen of his Brooklyn apartment. At the end of the play, he serves his audience a delicious dinner.
