Roma Torre — Theater Critic

It's very well cast. Hunter Foster, as the decent but culturally limited husband, is a strong presence. But of course, it's all about the lovers. Stephen Pasquale is excellent. As a charming, troubled soul, he sings with the kind of power and conviction that leaves no doubt a new star is born. And the stunningly gifted Kelli O'Hara should win her fifth Tony nomination with this role, the most finely tuned of her illustrious career, and she sings her heart out. Yes, it's a soap opera, but an irresistible one; and if you're in the right mood, expect to be utterly smitten.

Eric Simonson's play is a disjointed work divided into four disparate scenes. The first scene, the only one that qualifies as drama, features a notorious episode in Yankee history. In 1977, manager Billy Martin and slugger Reggie Jackson had it out in a Fenway Park dugout, and it was all caught on camera. As the scene unfolds, Yogi Berra, then the coach, tries to diffuse tensions by inviting Martin and Jackson to a hotel room along with team captain Thurman Munson to hash it out.

Shanley has captured a very authentic voice with these characters. The lonely gentleman farmer, the plain-spoken, dry-humored elders and the spunky girl next door may at first seem to be standard types, but Shanley has nicely shaded them in. And Doug Hughes' immaculate production provides a very satisfying emotional arc.

The large cast is in top form, with Suzanne Bertish as the mother, Michael Cumpsty, the husband, and Morgan Spector, the lover, standing out. But Rebecca Hall has the toughest job as the nondescript murderess. Resisting the urge to soften her, Hall manages an honest, wrenching portrayal of a woman you'd be very hard pressed to call a friend. 'Machinal' is not for the faint of heart. But if you're up for an intense theatrical experience, this one's a first-class punch to the gut.

'The Snow Geese' characters share Chekhov's thematic constant - boredom. The challenge is how to write about it without becoming it. Chekhov masterfully avoided that dramatic pitfall. Not quite Sharr White. And if his first act is slow to take off, he's got the ideal company to ensure a heartfelt landing.

In other hands, 'The Winslow Boy' could be slow going at nearly three hours, but director Lindsay Posner deserves much credit for doing great justice to this rich old play.

Davies' physical resemblance is limited to hair and costume, but none of it matters once she opens up that glorious sandpaper voice. And fans who never saw Joplin in concert, wondering what they missed, should find an instant jolt in this, the next best thing.

Davies' physical resemblance is limited to hair and costume, but none of it matters once she opens up that glorious sandpaper voice. And fans who never saw Joplin in concert, wondering what they missed, should find an instant jolt in this, the next best thing.

I've seen quite a few productions of Tennessee Williams' 'The Glass Menagerie,' and yet, this one stands well above the rest. It retains the haunting resonance of the great classic that it is, and yet, it possesses the originality of a never-before-seen work of art.

This is a tender, deceptively simple work that requires great sensitivity. Director Michael Wilson has the right touch, but the dynamic seems off in the earlier scenes. Vanessa Williams comes on so strong, the other two characters seem in danger of being eaten by her. Later on, they all seem to find their stride, and by the end, Cuba Gooding Jr. delivers a moving portrayal.

Broadway can add yet another blockbuster to its roster of kid-friendly shows. 'Matilda', based on Roald Dahl's 1988 children's novel, is wickeder than 'Wicked', as beastly as the beasts in 'The Lion King' and as crowd-pleasing as anything on the Great White Way.

One might easily think that a solo show would be swallowed up on Lincoln Center Theatre's largest stage, but given Richards' dynamism and Taylor's outsize talents, the ladies had no problem filling the space.

There's 'Dead Accounts' and then there's 'No Accounts', which is a more apt title for this dramatically lifeless play in which there's no accounting for structure, theme or purpose. There is, however, lots of ice cream and a dazzling central performance from Norbert Leo Butz. But no ands, ifs, or buts about it: the play is DOA.

And if not 'King Of New York,' I have to say it's loaded with some very appealing princes. ... But it’s Jeremy Jordan as the swaggering Jack Kelly who once again takes 'Newsies' to new heights. He is a star, yes even a Broadway king, in the making.

The production directed by Kenny Leon is fast-paced with a dynamite beachhouse set. The actors handle Diamond's snappy dialogue with ease. Ruben Santiago-Hudson finds ample nuance as the callously dominating father. But it's Condola Rashad in her Broadway debut as the put-upon housekeeper's daughter who stands out. Moment to moment she delivers one of the freshest and most honest portrayals of the year. To the show's credit, it's never dull, but amid all the commotion and numerous revelations over two and a half hours, the play doesn't seem to go anywhere. “Stick Fly” is itself stuck in melodrama.

Director Jeff Calhoun stages the projection-rich production with great efficiency even if it takes awhile to get off the ground. 'Bonnie and Clyde' has many virtues but also enough flaws to keep it from blowing you away.

Anyone can memorize classic songs and great lines but it's in the delivery that separates the man from the boys. Hugh Jackman is an absolute superstar. Even his adlibbed banter with the audience was hysterical. You really have to ask - is there anything he can't do. He acts, sings and dances with utter mastery. I wonder if he does dishes... preferably mine!

Returning cast members Stacey Keach, Thomas Sadoski and Stockard Channing are even better than before, impossible as that may seem. It's not entirely flawless, but under Joe Mantello's expert direction, theater lovers should still find 'Other Desert Cities' a prime destination.

The actors, all excellent, sink their teeth into some nicely nuanced roles. Jennifer Lim as the multi-faceted Madame Xi is riveting and bravo to Gary Wilmes whose expressive face alone is worth a million words. The play, intricately plotted and over-written in spots, could use a healthy trimming. But for the most part Chinglish serves as a highly entertaining lesson that no matter how foreign we seem to each other, when it comes to making money, we're really pretty much alike.

For those of you old enough to remember the days when anything written by Woody Allen and Elaine May was a major event, 'Relatively Speaking,' featuring three one acts by Allen, May and Ethan Coen is little more than a big bloated tease. For the rest of you, if you want to know how this embarrassment made it to Broadway in the first place, stay home and rent some of their old stuff instead.

Amid much banter, the play fails to shed any new light on the subject. It's been thoroughly documented that King was a flawed man, and as portrayed by Samuel L. Jackson, he does emerge wonderfully human. However, any revelations about his thoughts, his motivations and fears all stem from the author's invention and fantasy, and it gets weird.

The great problem still plaguing 'Spider-Man' is that it can't decide what it is -- a theme park attraction, a Broadway musical or a circus. Then again, undiscerning audiences don't seem to care. For them, it all adds up to more bang for their bucks.

It’s an acting challenge that’s sunk many a decent actress, but rising star Nina Arianda nailed it. With a bow to Holliday’s sweet naiveté, Arianda makes the role her own. She gets a huge assist from costume designer Catherine Zuber, who drapes her fabulously svelte figure in elegantly ostentatious fashion.

Here we go again. Another film to stage adaptation, but this one's switched it up a bit. 'Sister Act,' the 1992 movie starring Whoopi Goldberg featured a jukebox songbook of disco era tunes. On Broadway, the music is all original and Whoopi is now the producer. How does it rate? Let's just say it's hard to resist when the sisters and a few brothers make such a joyful noise.

While it's all beautifully acted by an American company, the true stars of this production are the animals, designed by Adrian Kohler and Basil Jones of the Handspring Puppet Company. Lifelike without any attempt to conceal the artifice, the creatures are magnificent, a thrilling synthesis of art and imagination. It wasn't until after heading home that I stopped to think that I had just cried over a horse that was actually made up of several props held together by visible handlers. This is the power and magic of great theater.