BWW Review: Isabella Rossellini's LINK LINK CIRCUS Delves Into The Minds of Animals
Don't let the abundance of cuteness fool you.
Michael Dale - Page 20
BWW Review: Director Laurie Woolery Casts Shakespeare's THE TEMPEST With An Eye Toward Establishing a Non-Patriarchal Paradise
Though Shakespeare's The Tempest commences with a spectacular act of revenge, director Laurie Woolery stresses in her program notes for Mobile Unit's thoroughly enrapturing new production her intention to highlight the play's moments of forgiveness, leaving audiences to ponder 'what it means to use
BWW Review: Halley Feiffer Finds Symbolism In Her Real-Life Ailment With THE PAIN OF MY BELLIGERENCE
If you're like this male theatre critic, you'll spend the first twenty minutes or so of Halley Feiffer's The Pain of My Belligerence wondering why the woman at the center of the story is putting up with the atrocious immature behavior of the guy who's her arrogant and disrespectful dinner date.
BWW Review: Alex Brightman Is Uproariously Subversive in Gothic Musical Comedy Gem BEETLEJUICE
'Holy crap! A ballad already?', sneers the leading man as he interrupts the opening song of his starring vehicle; a funeral dirge sung by his co-star, backed by a chorus of mourners.
BWW Review: James Graham's Wildly Raucous INK Chronicles Rupert Murdoch's Rise To Tabloid Journalism Infamy
Long before the term clickbait entered into pop culture infamy, Chief Editor Larry Lamb of the Fleet Street tabloid The Sun was offering his staff a bonus every time the eye-catching words 'Win,' 'Free' and 'Love' appeared on the front page.
BWW Review: Robert Horn, David Yazbek's Hilarious Take On TOOTSIE Addresses Contemporary Gender Issues
Following in the footsteps of NETWORK and TO KILL A MOCKINGBIRD, Robert Horn (book) and David Yazbek's (score) musical comedy Tootsie continues this Broadway season's welcome trend of adapting classic, decades-old source material into brand new stage pieces that examine familiar stories through a co
BWW Review: Tracy Letts and Annette Bening in Arthur Miller's Drama of Evolving American Dreams, ALL MY SONS
While many scoff at Broadway's habit of bringing back so many American classics from decades ago, a well-timed revival of an early work by one of our great masters might reveal a bit about how the young, emerging voices of another era were dealing with the same kinds of issues that we still debate (
BWW Review: Tim Blake Nelson's SOCRATES Honors The Philosopher Condemned For Encouraging Free Thought
'Would you rule justly?' the ancient Greek philosopher who serves as title character of Tim Blake Nelson's drama Socrates asks a fellow citizen who claims he would do a better job than the current political leaders.
BWW Review: Laurie Metcalf, John Lithgow Debate The Art of Getting Elected in Lucas Hnath's Political Fan Fiction HILLARY AND CLINTON
'If the universe is infinite,' Laurie Metcalf, playing Laurie Metcalf, explains to the audience at the outset of Lucas Hnath's sharp and funny bit of political fan fiction, Hillary and Clinton, 'then that means that everything that happens in it happens many times, over and over, and that that means
BWW Review: New Orleans Gets Mythological in Anaïs Mitchell's Exhilarating Bluesy Folk Opera HADESTOWN
With a stage career spanning half a century that includes dozens of notable performances in New York alone, Andre De Shields knows a thing or two about seducing an audience.
BWW Review: Company XIV's Sumptuous New Cavalcade, QUEEN OF HEARTS
For over a dozen years, the brilliant director/choreographer Austin McCormick and the intriguing troupe of artists he's gathered to create and expand Company XIV have been luring audiences to witness productions that evolve classic tales we've loved as children (The Nutcracker, Cinderella, Snow Whit
BWW Review: Adam Driver and Keri Russell Star in Lanford Wilson's Drama of Sex and Grieving, BURN THIS
The phrase 'toxic masculinity' wasn't exactly in the vernacular in 1987, when Circle Rep's buzz-producing run of Lanford Wilson's Burn This moved uptown to Broadway.
BWW Review: Brian d'Arcy James, Shuler Hensley Lead New Arrivals To Jez Butterworth's THE FERRYMAN
When director Sam Mendes' beautifully realized production of Jez Butterworth's Olivier-winning drama The Ferryman opened on Broadway last October, leading man Paddy Considine and several other members of the excellent ensemble cast had been with the play since its April 2017 Royal Court premiere, wi
BWW Review: Mara Nelson-Greenberg's DO YOU FEEL ANGER? Takes An Absurdist Look at Toxic Masculinity
An empathy coach is hired to hold workshops at a debt collection agency.
BWW Review: Director Daniel Fish Makes Sensational Broadway Debut Illuminating Contemporary Issues in Rodgers and Hammerstein's OKLAHOMA!
As with setting a Shakespeare comedy in outer space or a Wagner opera in a subway station, director Daniel Fish's jaunty riff on Richard Rodgers and Oscar Hammerstein II's 1943 classic Oklahoma! may not look or sound the way the authors imagined, but it's a lot more faithful to its source than other
BWW Review: Glenda Jackson is Wickedly Fun in Sam Gold's Surprisingly Comic Take on Shakespeare's KING LEAR
In recalling the great comedies penned by William Shakespeare, classics like TWELFTH NIGHT, A MIDSUMMER NIGHT'S DREAM and the one about all the errors have been making audiences bust out in laughter for hundreds of years.
BWW Review: Dynamic Tony Yazbeck, Steely David Garrison Lead CSC's Revival of Marc Blitzstein's THE CRADLE WILL ROCK
In June of 1937, the United States government padlocked New York's Maxine Elliot Theatre and sent security guards to prevent the performance of a new musical, but the unknown leading lady Olive Stanton courageously fought her fears and led an act of defiance that made headlines the morning after ope
BWW Review: Director Louisa Proske Infuses John Webster's Blood-Soaked THE WHITE DEVIL With Contemporary Nihilistic Attitude
Perhaps if Jacobean playwright John Webster had access to hard-driving techno music and live-stream video technology, his blood-soaked revenge drama The White Devil might have had a successful 1612 premiere at London's Red Bull Theatre, as performed by the resident company, Queen Anne's Men.
President Trump Signs Executive Order To Combat Importation of Squips
This morning President Donald Trump signed an executive order spelling out steps to combat the importation of Squips into the United States.
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