'Sometimes life just is preposterous, you know,' screams a frustrated character trying to get another to believe his corner of the jigsaw puzzle of interlocking plots in Craig Lucas' eclectically styled comedy/drama, The Singing Forest; a play that takes us from 21st Century New York to 1930s Vienna
As is frequently noted by lovers of strong book musicals, part of the brilliance of Sherman Edwards (score) and Peter Stone's (book) 1776, their 1969 Broadway tuner about the efforts of John Adams to convince the continental congress to vote for independency from Great Britain, is that the audience
There's a moment in Show Boat where a woman sings that her true love, 'just plain Bill,' is 'an ordinary man' who 'isn't half as handsome as dozens of men' and is, on the whole, kinda stupid.
'Acting is reacting,' says many a teacher of the craft, and if they're right then Christopher Durang has handed his leading lady, Laura Benanti, a career's worth of reasons to react in his surreal cavalcade, Why Torture Is Wrong And The People Who Love Them.
I'm assuming that whatever Tina Howe is trying to get across in Chasing Manet, her disappointing new play receiving a well-acted mounting by Primary Stages, is contained in a lengthy speech Jane Alexander delivers early in the first act.
You know you're in for a good one when there's a huge laugh before the first person on stage can even let out the third syllable of the show.
While it would be just loverly to have Melissa Errico's crystalline soprano back on Broadway, the Tony-nominee for Amour has been keeping busy doing remarkable work as the founder of Bowery Babes.
Legendary playwright Robert Patrick shares some thoughts and remembrances of the late Jack Wrangler.
While the new musical by James Hindman (book) and Ellen Weiss (score) appears to be a promising work in progress, Transport Group's premiere production of Being Audrey, helmed by the company's Artistic Director Jack Cummings III, is loaded with bright, shiny charms that display their material in a d
No dear playgoers, it has not come to pass that some smart producer put up a quickie, low-budget revival of Spamalot in the Barrymore Theatre and tried cutting costs by removing all the songs.
'Men like women with character,' is the sisterly advice a muddied, snarling, grief-stricken and murderously-crazed Elektra gives to pretty little Chrysothemis in Ann Carson's wildly clever adaptation of the ancient Greek story of bloody family doings titled An Oresteia.
There's a fine, fine line.
'If musical theatre doesn't address important issues, who will?,' read a t-shirt I spotted at the Broadway Flea Market several years ago.
Though probably best known to theatre folk as author of the long-running Broadway comedy, Luv, Murray Schisgal first hit it big with the Off-Broadway double bill of one-acts, The Typists and The Tiger, and the short play form continues to be a steady part of the 81-year-old humorist's repertoire.
If you're going to open your play with the two main characters discussing their preference of either muffins or coffee cake with their morning brew, your dialogue had better be sparkling.
While there are laws restricting the tattooing of minors, the unseen infant title character in Christina Anderson's Inked Baby has the unfortunate honor to be indelibly marked even before birth.
One of the many delights of director Michael Blakemore's revival of Noel Coward's giddily funny 1941 froth, Blithe Spirit, is that this 2009 production looks like it could have been seen in the play's premiere year.
If the gang at Madison Avenue were looking for the perfect spokesmodel to help win support for the civil rights movement of the 1950s and 60s, they couldn't have done better than Rosa Parks, a sweet-looking, modestly dressed woman who spoke with quiet dignity.
The opposites attracting plot is probably as old as romantic comedy itself, but even if Rooms: a rock romance follows familiar paths, the Paul Scott Goodman (book/music/lyrics) and Miriam Gordon (book) two-person musical is such a buoyant, funny and upbeat affair that the clichés of the story are c
Barbara Walsh may not be a world famous performing artist but she's damn convincing at playing one in Paper Mill's sparkling new production of Terrance McNally's Master Class.
