Is this the underwhelming Kit Kat Club all over again? Well, yes and no.
In the age of CGI and Cirque du Soleil, even the play’s technical “spectacle” often seems as retro as its fossilized script.
If Psych ever goes the way of this play’s title, he’s got a home on the stage whenever he wants it.
The play’s spectacle is so overwhelming that you nearly overlook its flaws.
The thumbprint of Alan Ayckbourn seems firmly impressed into the pages of playwright Lucinda Coxon’s Happy Now?
True artistic discoveries—relatively secret revelations that unfold before one’s eyes—are few and far between.
Scarlett Johansson is so comfortable on stage that it’s hard to believe that this is her Broadway debut.
Offices, three short comedies about the cubicle world, is about as fun as a day job.
Provocateur playwright and filmmaker Neil LaBute traffics in alternate reality.
Natasha Richardson, certainly not a singer at the level of Liza Minnelli, was faced with numerous challenges when starting to work on this role.
This Beautiful City provides a thoroughly researched context for the evangelizing of Colorado Springs.
Even as the Oscar push for Revolutionary Road remains in full swing, Sam Mendes returns to his theater roots with his latest production of The Cherry Orchard.
NYU has a long tradition of swallowing up real estate and putting profit before culture and community.
Theoretically and visually, Equus is a dense monster of a play.
It’s a rare actor who can convey self-awareness without seeming self-conscious.
Intensity exacted a high price, and Kim Stanley seems to have paid it willingly, even gloatingly.