BWW Review: Michael Urie and Mercedes Ruehl Sing Out Triumphantly in Harvey Fierstein's TORCH SONG
'We opened for an eight-week limited engagement and could not give a ticket away for three weeks.
Michael Dale - Page 45
BWW Review: Pussy Riot's Maria Alyokhina Joins Belarus Free Theatre in Protest Drama BURNING DOORS
When their current engagement at La MaMa Experimental Theatre Club concludes this weekend, members of the Belarus Free Theatre will return to their homeland, where they and their audience members can be arrested by the Belarussian K.
BWW Review: Diana Oh's {MY LINGERIE PLAY}, Glitter, Soap Bubbles, Anger, Art and Activism
To describe Diana Oh's newest performance art installation as the pep rally that precedes the dismantling of the patriarchy is by no means a knock on her vibrantly raucous mixture of glitter, soap bubbles, anger, art and activism.
BWW Review: Alison Fraser Has A Bloody Tale To Tell in Aaron Mark's SQUEAMISH
Playwright/director Aaron Mark has a habit of leaving audiences in the dark.
BWW Review: Peter Friedman and Deanna Dunagan Star as Estranged Mother and Son in THE TREASURER
I will be in Hell because I don't love my mom, the central character of Max Posner's comedic drama THE TREASURER causally admits to the audience with unemotional matter-of-factness.
BWW Review: Concept Overwhelms Content in Elevator Repair Service's MEASURE FOR MEASURE
Regarded by The Public Theater's artistic director Oskar Eustice as a resident company of the Astor Place venue, Elevator Repair Service's niche has always been productions with a clear focus on words, such as their fully staged complete-text reading of F.
BWW Review: Peccadillo Revisits George Kelly's 1924 Smash, THE SHOW-OFF
For over twenty years, artistic director Dan Wackerman's Peccadillo Theater Company has specialized in mounting handsome productions of infrequently revived Broadway fare of notable pedigree, such as Elmer Rice's COUNSELLOR AT LAW, Dorothy Parker and Arnaud d'Usseau's LADIES OF THE CORRIDOR and, mos
BWW Review: Nia Vardalos' TINY BEAUTIFUL THINGS Returns To The Public
It may have been underestimated how popular TINY BEAUTIFUL THINGS would prove to be when it opened at The Public's Shiva Theater last November.
BWW Review: Muscles and Choreographed Violence Overwhelm The Story of A CLOCKWORK ORANGE
If director Alexandra Spencer-Jones' intention was to stage an erotic word ballet that finds beauty in the well-chiseled male form through highly-stylized acts of choreographed violence, then the latest offering at New Work Stages certainly fulfills that goal.
BWW Review: Amy Herzog's MARY JANE Subtly Criticizes The Complexity of Obtaining Health Care
To say that there are no dramatic highs and lows in Amy Herzog's touching new drama, Mary Jane, is by no means a criticism.
BWW Review: Philip Dawkins' Uplifting CHARM Inspired By Transgender Teacher Miss Gloria Allen
The beloved and classic premise of an idealistic teacher determined to reach out and help a classroom full of troubled and disrespectful students ('Up The Down Staircase,' 'To Sir, With Love') gets a fresh and surprising variation in Philip Dawkins' terrific new comedy/drama, Charm.
BWW Review: Suzan-Lori Parks' IN THE BLOOD Makes Greek Tragedy Out Of The Scarlet Letter
While Suzan-Lori Parks' ferocious drama from 2000, FUCKING A, enjoys an excellent new production at Signature Theatre, across the lobby of their multi-stage center, her more sensitive 1999 exploration, IN THE BLOOD, also receives a solid remounting.
BWW Review: Sarah Ruhl Pits Growing Up Against Growing Old In FOR PETER PAN ON HER 70TH BIRTHDAY
It wasn't long after Mary Martin took her first Broadway flight as Peter Pan that Ann, the central character of Sarah Ruhl's sometimes-whimsical/sometimes-philosophical new drama took her own crack at the role as a 10-year-old.
BWW Review: The New York Gilbert & Sullivan Players Get Intimate With THE SORCERER
For over forty years, the New York Gilbert and Sullivan Players have been Gotham's go-to company for high-quality G&S productions produced with full choruses and orchestras in the traditional D'Oyly Carte style.
BWW Review: Simon Stephens' Olivier-Winning ON THE SHORE OF THE WIDE WORLD Arrives in New York
British playwright Simon Stephens scored big his first time on Broadway, taking the 2015 Best Play Tony Award for THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME two years after receiving the same honor at the Olivier Awards.
BWW Review: The Scarlet Letter Stands For Abortionist in Suzan-Lori Parks' FUCKING A
Nathaniel Hawthorne's 'The Scarlet Letter' may have served as the initial inspiration for Suzan-Lori Parks' ferocious 2000 drama, FUCKING A, but, especially in director Jo Bonney's chilling Signature Theatre production, her sardonically abstract portrait of human cruelty may remind playgoers of anot
BWW Review: The Spotlight Shines On Everyone in Public Works' AS YOU LIKE IT
'All the world's a stage / And everybody's in the show.
BWW Review: Melissa Gilbert and Mark Kenneth Smaltz Ponder Forbidden Romance in IF ONLY
Snuggled at the curve of a quiet little Greenwich Village side street, the quaint and historic Cherry Lane Theatre is a perfect spot to engage in a quiet little drama.
BWW Review: The Mint Rescues Four Teresa Deevy One-Acts From Storage as THE SUITCASE UNDER THE BED
While the underrepresentation of women playwrights in contemporary American theatre remains an important issue, the Mint Theater Company, those invaluable specialists in rediscovering interesting obscurities from authors who are no longer with us, continue their practice of highlighting their season
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Tickets From $71