BWW Review: The York Brings Back Styne, Comden and Green's Enjoyable Oddball, SUBWAYS ARE FOR SLEEPING
'One of the few great musical comedies of the last thirty years.
Michael Dale - Page 39
BWW Review: Taylor Trensch Brings Darker Shades To The Title Character of DEAR EVAN HANSEN
One of the great characteristics of live theatre is that, as opposed to film and television, no matter how iconic a performance is, no matter how indelibly attached an actor may seem to a role, there will be other actors playing it.
BWW Review: Terrence Mann and Will Swenson Star in Outrageous, Endearing and Perceptive JERRY SPRINGER - THE OPERA
'Dip me in chocolate and throw me to the lesbians,' sings a young lady feeling the bright television lights on her face as cameras capture her every move for a national audience in Richard Thomas and Stewart Lee's outrageous, endearing and perceptive social commentary, JERRY SPRINGER -- THE OPERA.
BWW Review: Jomama Jones' BLACK LIGHT Offers Spiritual Healing in Turbulent Times
'I have a friend - She's a liberal.
BWW Review: Robert Sean Leonard, Katie Finneran and Paul Sparks in Edward Albee's AT HOME AT THE ZOO
Introverts weren't exactly regarded as sexy, at least not as a norm, when Edward Albee's one-act classic 'The Zoo Story' premiered in 1958, launching the career of a playwright whose name became synonymous with the psychoanalyzation of privileged white American dysfunctionality.
BWW Review: Bernadette Peters' Star Quality Shimmers in Jerry Zaks' Wondrous HELLO, DOLLY! Revival
Intended for Ethel Merman, created by Carol Channing, reinvented by Pearl Bailey and based on a character made famous by Ruth Gordon, the title character of Dolly Gallagher Levi in Hello, Dolly! is perhaps the most flexible starring role to ever grace the Broadway musical stage.
BWW Review: Sarah Burgess' KINGS Explores The Volatile Relationship Between Elected Officials and Lobbyists
It was nearly two years ago when The Public Theater opened the first major New York production penned by the relatively unknown Sarah Burgess.
BWW Review: FLIGHT at McKittrick Hotel is More Art Installation Than Theatre
There are no live actors involved in with the Scottish theatre company Vox Motus' new storytelling attraction, FLIGHT, and though New York's theatre critics were invited to sample showings at the McKittrick Hotel, their creation can be more accurately described as an art installation.
BWW Review: Peyton Lusk is a Charmer as Jule Styne's BAR MITZVAH BOY
With a name like BAR MITZVAH BOY, it should be no surprise that the current musical at the York is a coming of age story.
BWW Review: In IN THE BODY OF THE WORLD, What Doesn't Kill Eve Ensler Only Becomes The Subject of Her New Solo Play
"Do you have any idea who I am?," Eve Ensler asks the doctor who suggests radiation treatment of her vagina to prevent the resurgence of her cancer.
BWW Review: Martin McDonagh's Darkly Comic HANGMEN is Enjoyably Discomforting
It might be easier to pity the hardworking gentleman at the core of Martin McDonagh's new darkly comic drama, who loses his job when his employer eliminates his position, if it weren't for the fact that the function of his profession was to kill people.
BWW Review: HEY, LOOK ME OVER! from Encores!, a Fun Sampler of Musical Scenes and Songs
When the subject of New York City Center Encores! comes up among musical theatre enthusiasts, the conversation almost invariably steers to what shows they should be presenting in their series of concerts.
BWW Review: #NijinskyToo Would Be The Hashtag For Terrence McNally's FIRE AND AIR
In the second act of Terrence McNally's fact-based drama, Fire and Air, the legendary dance impresario Sergei Diaghilev privately examines the technique of a young dancer he may consider as a successor to his protegee-turned-international star, Vaslav Nijinsky.
BWW Review: Anna Chlumsky Paints The Town Red in Greg Pierce's CARDINAL
In last season's GROUNDHOG DAY, the exceedingly charismatic Andy Karl was given the unenviable task of playing out a romantic comedy as a thoroughly despicable character.
BWW Review: Ngozi Anyanwu's THE HOMECOMING QUEEN Considers The Boundaries of Self-Reinvention
Sentimental stories of adults returning to their childhood homes to face the demons of the past after achieving success far, far away are a staple of popular entertainment, and though Ngozi Anyanwu's engaging contribution to the genre, The Homecoming Queen, adds nothing surprising, the elegant story
BWW Review: Stephanie Umoh is Thrilling In York Theatre's HALLELUJAH, BABY!
Audiences and critics alike swooned over relatively unknown Leslie Uggams when she made her Broadway debut starring in Betty Comden, Adolph Green, Arthur Laurents and Jule Styne's progressively-minded 1967 Broadway musical HALLELUJAH, BABY!
BWW Review: The Mad Ones' MILES FOR MARY Salutes The Understated Heroism of Public School Teachers
With the past year bringing in a new administration with a new Secretary of Education, the national awareness of how overworked, undercompensated and financially burdened America's public school teachers are has fueled debate within discussions of federal budget restructuring and tax reform.
BWW Review: Casual Sex Meets Edwardian Morals in Stanley Houghton's HINDLE WAKES
All too often, the word dated is misguidedly used to diminish the impact a play of a bygone era can have on contemporary audiences.
BWW Review: Split Britches Invites Audience Members To Join Their Council of Elders in UNEXPLODED ORDNANCES (UXO)
As the ground-breaking theatre troupe Split Britches - which they founded with former member Deb Margolin in 1980 - Peggy Shaw and Lois Weaver have been challenging both gender norms and theatrical norms for nearly four decades, ranking them among the respected elders of America's performance art mo
BWW Review: Enda Walsh's Breakout Edge-Fest DISCO PIGS Reveals an Unsettling Friendship
Fear not, all you American playgoers whose comprehension skills usually require a few minutes of ear adjustment whenever a production from Britain or Ireland crosses over with its native cast.
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