BWW Review: Beautifully Sung and Acted GIRL FROM THE NORTH COUNTRY Matches Storytellers Conor McPherson and Bob Dylan
Do not expect a rousing 'Rainy Day Woman'/'Blowin' In The Wind'/'Mr.
Michael Dale - Page 31
BWW Review: Richard Bean's Eccentric Comedy THE NAP Introduces Snooker To Broadway
British playwright Richard Bean made a riotous Broadway debut six years ago with the knockabout farce ONE MAN, TWO GUVNORS, but his newest hit to cross the Atlantic, The Nap, while full of good-natured fun, partakes in subtler eccentricities.
BWW Review: Janet McTeer Speaks The Speeches Ever So Trippingly in Theresa Rebeck's BERNHARDT/HAMLET
'All that privilege and he can't figure out how to do anything?,' ponders one of the world's greatest actors as she attempts to delve into the psyche of one of the world's greatest theatrical characters.
BWW Review: Craig Lucas' Job-Inspired Drama, I WAS MOST ALIVE WITH YOU, Performed in Both Spoken English and ASL
The press script provided to critics reviewing Craig Lucas' somber and overstuffed drama, I WAS MOST ALIVE WITH YOU, specifies that the play 'was created to be performed by Deaf and hearing actors for Deaf and hearing audiences' and that all productions 'must provide full access for hearing and Deaf
BWW Review: Kristine Nielsen and Annette O'Toole in Tennessee Williams Rarity A LOVELY SUNDAY FOR CREVE COEUR
Don't be surprised to immediately sense a bit of familiarity in the dynamic between the two main characters as director Austin Pendleton's very fine La Femme Theatre production of the lesser-known Tennessee Williams drama A Lovely Sunday for Creve Coeur commences.
BWW Review: Edie Falco, Michael McKean and Peter Scolari Tackle Politics and Marriage in Sharr White's THE TRUE
Dorothea 'Polly' Noonan, the real-life central character of Sharr White's new political drama, THE TRUE, was the grandmother of current United States Senator Kirsten Gillibrand.
BWW Review: Musical Dating Adventure NEUROSIS Is Extremely Enjoyable Fluff
While the exact location of composer Ben Green, lyricist Greg Edwards and bookwriter Allan Rice's funny and frothy new musical dating adventure, Neurosis, is never revealed, it's a safe bet that New Yorkers, who have glamorized and romanticized neurotic tendencies into a beloved badge of honor, will
BWW Review: Richard Nelson Gives UNCLE VANYA The Rhinebeck Treatment
For the better part of the present decade, playwright/director Richard Nelson has been going seriously Chekhovian, first with a quartet of plays set during the Obama years in the Rhinebeck, New York home of a family named Apple and then with a trio of visits during the 2016 presidential campaign wit
BWW Review: Jen Silverman's Weird and Wonderful COLLECTIVE RAGE
Eat your heart out, THE PERSECUTION AND ASSASSINATION OF JEAN-PAUL MARAT AS PERFORMED BY THE INMATES OF THE ASYLUM OF CHARENTON UNDER THE DIRECTION OF THE MARQUIS DE SADE.
BWW Review: R.R.R.E.D. Warns of Genetic Extinction of Redheads
There are times in musical theatre when a talented cast performing their hearts out can make questionable material not only endurable, but even somewhat enjoyable.
BWW Review: The Mint Revives Lillian Hellman's Intriguing Labor Drama DAYS TO COME
Perhaps if Clifford Odets' landmark pro-union drama, WAITING FOR LEFTY, hadn't opened the year before, Lillian Hellman's 1936 labor drama, DAYS TO COME, the sophomore Broadway effort of the playwright who made a huge name for herself two years earlier with THE CHILDREN'S HOUR, might have been bette
BWW Review: Bland PRETTY WOMAN Is Not An Affair To Remember
With an innocuous book more focused on moving to plot points than creating interesting leading characters and a platitude-heavy score that tends to linger on moments instead of expanding on them, PRETTY WOMAN, based on the hit 1990 film, is the blandest musical to hit Broadway in recent memory.
BWW Review: GETTIN' THE BAND BACK TOGETHER Salutes A Different Breed of Jersey Boys
The past several Broadway seasons have seen extraordinary developments in musical theatre, with a steady stream of new shows, usually transferring from non-profit Off-Broadway, offering smart writing, inventive storytelling and expanded notions of the subject matter and musical styles that can be we
BWW Review: Austin Pendleton Creates a Shakespearean Combo in WARS OF THE ROSES: HENRY VI & RICHARD III
The stage is quite empty, save for a makeshift throne in a corner and a couple of rows of ordinary looking chairs in the back, where actors not involved with scenes sit.
BWW Review: Joe Iconis and Joe Tracz's Hard-Rocking, Super-Charged and Very Well Written BE MORE CHILL
It may not have the romantic sweep of 'Some Enchanted Evening' or the driving intensity of 'Don't Rain On My Parade,' but so far, the best new theatre song of this young season is a finely-crafted emotional shut-down carrying the unlikely title 'Michael In The Bathroom.
BWW Review: Renee Taylor's MY LIFE ON A DIET Is a Comedy Feast
Back in the days, really not very long ago, when self-effacing gags about failed diets were one of the few topics of discussion deemed acceptable for women in comedy, the punchline Renee Taylor uses after telling about the time when she ate nothing but meatballs every day because it was the diet tha
BWW Review: Israeli Star Sasson Gabay Revisits His Film Role in Broadway's THE BAND'S VISIT
The last time an actor appeared in a Broadway musical playing a role he had previously essayed on film, it was 1983, when Anthony Quinn opened in the revival of ZORBA.
BWW Review: Karen Finley's Defiant GRABBING PUSSY Attacks Patriarchal Sexual Oppression
One of the most exciting and important voices to emerge from the 1980s-90s American performance art movement, Karen Finley might be regarded as one of the country's most noted censored artists.
BWW Review: Public Works' Joyous Musical TWELFTH NIGHT Returns To The Delacorte
The late afternoon and early evening rain that had been steadily falling last Friday didn't stop the faithful from arriving at Central Park's Delacorte Theater for Shakespeare In The Park's return of the Public Works' 2016 musical version of TWELFTH NIGHT.
BWW Review: Illusionist Vitaly Beckman Dazzles and Charms in VITALY: AN EVENING OF WONDERS
'I sound like Borat and I look like Seinfeld,' jokes the Russian-accented illusionist Vitaly Beckman, who indeed sports a resemblance to 9th Avenue's most famous diner patron.
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