BWW Review: SONGS FOR A NEW WORLD Reveals The Remarkable Artistic Maturity of a Young Jason Robert Brown
Jason Robert Brown was just 25 years old when his SONGS FOR A NEW WORLD took the stage of Off-Broadway's intimate WPA Theatre.
Michael Dale - Page 34
BWW Review: Carey Mulligan Considers Violence and Gender in Dennis Kelly's GIRLS & BOYS
Perhaps some of the good people at Britain's Royal Court are in need of a hug these days.
BWW Review: Stephen Rea is Chillingly Understated in David Ireland's CYPRUS AVENUE
On the surface, the plot of CYPRUS AVENUE is just a little too weird to take seriously, and that's one of the strengths of David Ireland's creepy drama, as director Vicky Featherstone, Artistic Director of London's Royal Court, seamlessly transitions the piece from cerebral exploration to dark comed
BWW Review: Donja R. Love's SUGAR IN OUR WOUNDS Depicts Gay Love Between Slaves During The Civil War
"The existence of queer people of color, particularly of African descent, has repeatedly been washed over, or forgotten altogether," writes Donja R.
BWW Review: Antoinette Nwandu's PASS OVER, A Tightly Written Bit Of Urban Absurdism
If upon entering a theatre, the stage is populated by a young black man sleeping under a street lamp as another young black man quietly scrutinizes all in attendance, while the pre-show music plays Doris Day singing 'Que Sera, Sera,' it's a good sign that there are going to be some strong opinions e
BWW Review: Problem Solved! Wild West Shakespeare Musical DESPERATE MEASURES is Hilarious and Tuneful
David Friedman and Peter Kellogg may be billed, respectively, as composer and bookwriter/lyricists of the rollickingly fun new musical comedy DESPERATE MEASURES, which has just moved from the intimate York Theatre to more spacious digs at New World Stages, but they can also add 'problem-solver' to t
BWW Review: Angelina Fiordellisi and Michael O'Keefe Are Charming As Older Leftists in Charles Mee's FIRST LOVE
Is there anything more charming than watching two older people falling in love? Well, perhaps.
BWW Review: Chukwudi Iwuji and Corey Stoll Give Memorable Turns in Director Ruben Santiago-Hudson's OTHELLO
From the very beginning, one of the most important tenants of Joseph Papp's vision of free Shakespeare in Central Park has been the insistence the company of actors audiences see on stage will always reflect the extraordinary and powerful cultural diversity of New York City.
BWW Review: Eve Ensler's FRUIT TRILOGY Examines The Treatment of Women as Commodities
'We are women more willing to be vile receptacles then we are willing to be dead,' says a character identified as Item 2 in Eve Ensler's FRUIT TRILOGY, which is receiving its New York debut at the Lortel, courtesy of the Abingdon Theatre Company.
BWW Review: Lauren Yee's THE GREAT LEAP Mixes Basketball and Politics in Communist China
Commencing in 1958, Chairman Mao Zedong's Great Leap Forward was a 5-year plan to convert Communist China's largely agricultural economy into government-run farming collectives, freeing up resources for manufacturing and building infrastructure.
BWW Review: John Kander and Susan Stroman Mix Henry James With Henri Matisse in THE BEAST IN THE JUNGLE
From the mid-1960s through to the early years of this century, the musicals scored by the team of John Kander and Fred Ebb have exemplified Broadway pizzazz while exploring darker issues under the glitzy polish.
BWW Review: Fifty Years of Changes Makes Mart Crowley's THE BOYS IN THE BAND All The More Intriguing
A younger playgoer knowing nothing about Mart Crowley's classic 1968 Off-Broadway comedy/drama The Boys in the Band except, perhaps, that its original run is regarded as an important landmark in depicting gay men on stage, might be shocked to witness the happenings these days at the Booth Theatre, w
BWW Review: Lois Smith Brings Tenderness to Darkly Comic Dysfunctional Family Drama PEACE FOR MARY FRANCES
The fact that Broadway hasn't seen fit to provide a role for Lois Smith in over twenty years can be regarded as one of the top arguments denouncing the popular assumption that Times Square is where you go to take in the best of New York theatre.
BWW Review: Sexual Sparks Ignite When Tennessee Williams Meets William Inge in Philip Dawkins' THE GENTLEMAN CALLER
The setup would make a hell of a piece of theatrically-minded erotica.
BWW Review: Phylicia Rashad Directs Crackling Revival of Stephen Adly Guirgis' OUR LADY OF 121ST STREET
There's an empty casket on display and a pants-less mourner screaming.
BWW Review: Dominique Morisseau's Captivating Jazz Noir Drama, PARADISE BLUE
Depending on how snobby you are about the belief that no American play can truly be said to have premiered until it has opened in New York, Paradise Blue, the ravishing new jazz noir drama by Dominique Morisseau is either the second or third installment in the playwright's trilogy set in her hometow
BWW Review: Jeremy Irons and Lesley Manville Star in Eugene O'Neill's LONG DAY'S JOURNEY INTO NIGHT
Ranking up there with MEDEA and OEDIPUS REX, Eugene O'Neill's family tragedy LONG DAY'S JOURNEY INTO NIGHT would most likely make any playgoer's list of inappropriate classics to revive on Mother's Day weekend.
BWW Review: Christian Borle and Laura Michelle Kelly Lead a Top Shelf Encores! Cast In a Smashing ME AND MY GIRL
Playgoers in the know will arrive at any production of the 1937 West End smash ME AND MY GIRL already humming a bit of its legendary Act I closer 'The Lambeth Walk,' looking forward to a rousing showstopper where composer Noel Gay's peppy earworm is matched with co-bookwriter/lyricists L.
BWW Review: Prepubescent Battles Rage in Clare Barron's Exhilarating DANCE NATION
'How're you gonna cap off your prepubescent years?', a stony-faced teacher asks his competitive dance team members, shortly after winning a competition that saw one of their own suffer a season-ending injury.
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