BWW Review: SECRET SUPPER: THE MUSICAL Takes A Meta Look At Attending Social Events
With the audience seated family style at several long tables, director Andrew Neisler seats the actors at elevated places around the perimeter.
Michael Dale - Page 43
BWW Review: HOME FOR THE HOLIDAYS Is Like Walking In A Melisma Wonderland
HOME FOR THE HOLIDAYS (which really could be called Home For Christmas since that's the only holiday mentioned) is a 90-minute concert starring three vocalists who first gained fame by winning television talent programs.
BWW Review: Lisa Lampanelli's Poignant and Funny STUFFED Explores Body Image and Relationships With Food
Though her aggressive style of dishing out insults has earned her the title of standup comedy's Queen of Mean, Lisa Lampanelli comes somewhat closer to being the Empress of Empathy in her comedy revue about the serious subject of food and body image, STUFFED.
BWW Review: Christopher Wheeldon Stages a Thrilling City Center Mounting of Lerner and Loewe's Sumptuous BRIGADOON
Like the city where it was born and nurtured, the American musical play differs from similar stage entertainments because it was developed by a combination of cultures merging into a unique new art form.
BWW Review: Julie Taymor Directs Revised Version of David Henry Hwang's Tony Winner M. BUTTERFLY
When David Henry Hwang's 1988 Best Play Tony-winner M.
BWW Review: Trump Administration Brings Greater Relevance To John Leguizamo's LATIN HISTORY FOR MORONS
When John Leguizamo's poignant, provocative and, yes, downright hilarious LATIN HISTORY FOR MORONS premiered at The Public Theater in March of this year, a country that was created by white people whose bloodlines go back to immigrants and refugees was, as it still is, debating the new president's p
BWW Review: One Says Consensual, The Other Says Rape in Anna Ziegler's ACTUALLY
Sex is sex and rape is rape.
BWW Review: Everett Quinton is a Master of The Ridiculous in Charles Ludlam's CONQUEST OF THE UNIVERSE or WHEN QUEENS COLLIDE
To watch New York stage treasure Everett Quinton engaged in his classic brand of silliness - or, to be more accurate, ridiculousness - is just as fulfilling a cultural experience as watching a great tragedian immersed in a dramatic Shakespearean role.
BWW Review: David Yazbek and Itamar Moses' Captivating THE BAND'S VISIT Moves To Broadway
If there were any concerns that David Yazbek and Itamar Moses' exquisitely melodic and introspective musical, THE BAND'S VISIT would have lost any of its understated beauty while moving from the intimate confines of its Off-Broadway home provided by The Atlantic Theater Company to its new Broadway d
BWW Review: Julia Cho's Urgent and Sensitive OFFICE HOUR Calls For Compassion To Combat Gun Violence
he sudden act of violence that occurs early on in on Julia Cho's urgent and sensitive drama OFFICE HOUR, is certainly not unexpected.
BWW Review: David Greenspan Flies Solo in Eugene O'Neill's STRANGE INTERLUDE
To give credit where it's due, Eugene O'Neill's Pulitzer-winning STRANGE INTERLUDE is perhaps the best play imaginable about women's sexuality that could have been written by a 35-year-old American man in 1923.
BWW Review: Bryce Pinkham and Denee Benton Mix Love and Politics in MasterVoices' OF THEE I SING
Back in 1931, when the firm Kaufman, Ryskind, Gershwin & Gershwin had the novel idea to infuse that stodgy old music/theatre entertainment, the Broadway operetta, with the jauntiness of showtune and a chaotic mixture of comedic highbrow and lowbrow to tell the tale of an unqualified, but charismatic
BWW Review: Matthew Bourne Brings Screen Dance Classic THE RED SHOES To The Stage
As anyone who has ever seen A CHORUS LINE will tell you, Michael Powell and Emeric Pressberger's screen classic THE RED SHOES has been tantalizing young dancers with dreams of ballet stardom since premiering in 1948.
BWW Review: Steven Pasquale Deals To Deceive in Ayad Akhtar's Wall Street Drama, JUNK
To the average working stiffs among us, money is a tangible thing.
BWW Review: Jason Alexander and Sherie Rene Scott as Would-Be Lovers in John Patrick Shanley's THE PORTUGUESE KID
If the spot-on hilarity of first scene of director/playwright John Patrick Shanley's THE PORTUGUESE KID could be replicated for the play's remaining three-quarters, this review would be happily exclaiming that New York has got a solid, old-school sexy romantic comedy in town.
BWW Review: Luis Alfaro's OEDIPUS EL REY Adapts a Classic Text Into a Contemporary Commentary
When Sophocles' OEDIPUS REX was first performed over 400 years B.
BWW Review: Cristin Milioti Makes An Unusual Emotional Connection in Zoe Kazan's AFTER THE BLAST
As societies in post-apocalyptic stories go, the one envisioned by playwright Zoe Kazan in her insightful relationship drama AFTER THE BLAST, seems to have it pretty good.
BWW Review: Audra McDonald, Martha Plimpton Sizzle in Film Adaptation of Michael John LaChiusa's HELLO AGAIN
Date movie would be too tepid a phrase to describe director Tom Gustafson's sizzling film adaptation of Michael John LaChiusa's tensely erotic 1993 musical drama, HELLO AGAIN.
BWW Review: Stephen Adly Guirgis' JESUS HOPPED THE 'A' TRAIN Gains New Relevance In The Era of Alternative Facts
The term 'alternative facts' wasn't part of the popular lexicon when Stephen Adly Guirgis' superb drama of public morality and personal convictions, JESUS HOPPED THE 'A' TRAIN premiered in 2000, but a major point of play is how, in our legal system, a lie can be regarded as truth when believed from
BWW Review: Robert Cuccioli and Jill Paice Star in Gerard Alessandrini's ANYTHING CAN HAPPEN IN THE THEATER: THE SONGS OF MAURY YESTON
It was thirty-five years ago when FORBIDDEN BROADWAY's genius creator/lyricist Gerard Alessandrini first collaborated, so to speak, with Tony-winning composer/lyricist Maury Yeston.
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