‘A Doll’s House, Part 2’ Broadway Review: Laurie Metcalf, Chris Cooper Revisit a Troubled Marriage
Lucas Hnath’s fine script calls for the actors to take very different approaches under master director Sam Gold
-
-
‘Bandstand’ Broadway Review: Dance, Soldiers, Dance! Singing Is Another Story
Director-choreographer Andy Blankenbuehler shines with his dancing but this swing-era musical runs into problems with its book, score, and lead performances
-
‘Six Degrees of Separation’ Broadway Review: Allison Janney, Corey Hawkins Get Very Close
John Guare’s comedy easily retains its place as one of the great American plays of the late 20th century in this often-raucous revival
-
‘Anastasia’ Broadway Review: A Muddled, Pro-Czarist Russia Musical for the Trump Era
Is she or isn’t she the royal daughter? In the end it doesn’t matter for a musical that gives kleptocracy a good name
-
‘Charlie and the Chocolate Factory’ Broadway Review: Christian Borle to the Rescue
It’s a long first act before Willy Wonka arrives. Borle makes it worth the wait
-
‘Hello, Dolly!’ Broadway Review: Bette Midler Returns as Red Hot Jewish Mama
She delivers, of course! More surprising is the talented and very quirky ensemble around her, including David Hyde Pierce
-
‘The Little Foxes’ Broadway Review: Laura Linney, Cynthia Nixon Mix Up the Greed and Innocence
Linney’s Regina is an icy Turandot of the South, and Nixon’s Birdie is an injured sparrow. When the two actors switch roles, unfortunately, the melodrama sputters
-
‘Indecent’ Broadway Review: Who Knew Yiddish Theater Was So Gay-Friendly?
Paula Vogel re-creates a much-censored play from early 20th century featuring lesbians and prostitutes
-
Inside Dominick Dunne’s Ties to Menendez Brothers: Shared Parental Abuse, Gay Identity (Exclusive Book Excerpt)
In an excerpt from his biography “Money, Murder, and Dominick Dunne,” Robert Hofler reveals how Vanity Fair’s star reporter became obsessed with one of the young killers
-
‘Groundhog Day’ Broadway Review: Andy Karl, a Star Is Reborn and Reborn
Actor makes you forget about Bill Murray in musical version of hit 1993 movie
-
‘Oslo’ Broadway Review: The Handshake That Shook the World
J.T. Rogers delivers all the suspense that led the Israelis and PLO recognize each other’s legitimacy, but his play may leave you wanting more
-
‘The Profane’ Theater Review: Middle Eastern Conflicts and Secrets in Suburban NY
Zayd Dohrn’s new drama looks at two very different Middle-Eastern immigrant families whose American-born children want to marry. There’s a problem
-
‘War Paint’ Broadway Review: Patti LuPone, Christine Ebersole Never Makeup
How rare it is to see two great female performances in one season, much less in one musical
-
‘Gently Down the Stream’ Theater Review: Harvey Fierstein Throws a Pity Party
The star offers tedium and sympathy in Martin Sherman’s play. Another new drama about same-sex marriage, “Daniel’s Husband,” is only marginally more endurable
-
‘Present Laughter’ Broadway Review: Kevin Kline and Kate Burton Are Divine
The two play their duets to perfection despite a few slapshtick distractions around the edges of this Noel Coward revival
-
‘Amelie’ Broadway Review: ‘Hamilton’ Star Phillipa Soo Brings Movie Heroine to Stage
Actress plays shy French waitress who idolizes the late Princess of Wales — if only she had wanted to emulate the party-girl Diana
-
‘Sweat’ Theater Review: An Extraordinary Drama Set in a Grungy Rust Belt Bar
Lynn Nottage offers a bleak political-economic picture, but in a play that will be performed long after the era it defines has passed
-
‘Miss Saigon’ Broadway Review: The Helicopter Is Back, Louder than Ever
Claude-Michel Schonberg’s music for the ill-fated young lovers is only slightly less bombastic than the show’s military parades in honor of Ho Chi Minh
-
‘How to Transcend a Happy Marriage’ Theater Review: Marisa Tomei Does the Math
Sarah Ruhl tackles the polyamorous in her brilliant new play — and finds love, beauty, and music among the numbers
-
‘The Price’ Broadway Review: Hail, Danny DeVito, New York’s New King of Comedy!
DeVito, making his belated Broadway debut, brings his big comic persona to the stage, turning the Arthur Miller drama into a laugh fest
-
‘Joan of Arc: Into the Fire’ Theater Review: David Byrne Is a True Believer About Butch Christian Saint
Heroine gets lost in a monumental showcase of nationalism and war
-
‘Come From Away’ Broadway Review: Stranded in Newfoundland, as Well as the Theater
Thousands of air travelers make an unexpected stop at a small Canadian town on 9/11. You will experience their relief when this new musical gets them all back up in the air
-
‘The Glass Menagerie’ Broadway Review: Sally Field Leads Solid Gold Revival
The actress reveals three faces of Amanda Wingfield in director Sam Gold’s production that redefines the Tennessee Williams classic
-
‘Significant Other’ Broadway Review: ‘Bridesmaids’ Meets ‘The 40-Year-Old Virgin,’ Only Gay
You may have seen Joshua Harmon’s distraught hero before. He’s worth another look, this time on stage
-
‘If I Forget’ Theater Review: ‘Dear Evan Hansen’ Writer Spins Magnificent Comedic Drama
Steven Levenson, book writer for “Dear Evan Hansen,” follows that script with an even more remarkable work
-
‘All the Fine Boys’ Theater Review: Abigail Breslin Grows Up
‘Little Miss Sunshine’ actress deftly handles the shifts between sexual manipulator and victim in Off Broadway drama
-
‘Linda’ Theater Review: Why It’s Tough Being a Feminist at a Cosmetics Company
There’s not much arc to the characters in Penelope Skinner’s new play about women who confront ageism and ruthless ambition
-
‘The Penitent’ Theater Review: David Mamet Finds New Ways to Present an Argument
The writer’s latest play is of interest only when his character make believe they’re living in 1984 and print had lots of power
-
‘Wakey, Wakey’ Theater Review: Will Eno Picks the Wrong Man to Die
William Emerson’s remarkably spontaneous performance is like Pee-Wee Herman after a stroke
-
‘Sunday in the Park With George’ Broadway Review: Jake Gyllenhaal Paints as Well as Sings
The actor brings his gift for understatement to the big stage to deliver a moody but riveting George Seurat
