Monday, April 14, 2008 at midnight (Broadway Time)
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An Off Broadway Institution Lets Its Production Staff Go

All six employees on the production staff of the New York Theater Workshop have been told that they will be laid off as of May 30, and that their jobs will be performed in the future by temp…

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LIZ SMITH

THE INSIDE story of the flacks of "Young Frankenstein" is that they are fighting back against those who say this Mel Brooks project has been a "disappointment."

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Jo Piazza

Broadway's "Young Frankenstein" is looking to dip into the "American Idol" pool when Sutton Foster drops out of the lead role of Inga in August. The show is hoping to nab country singer Carr…

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Sondheim's Sound, in the Key of 'Sorry-Grateful' By Nelson Pressley

If you like Stephen Sondheim musicals, pause for a moment and ask yourself why. Is it for the witty lyrics? The bittersweet stories?
You're lucky if it's not for the music.

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Benedict Cammpbell's Wake-up Call by Richard Ouzounian

Everything changed for venerable actor the day he was diagnosed with prostate cancer

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Cast of distinction By Chris Jones

Would Tracy Letts have won the Pulitzer for 'August' without the Chicago performers?

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Tennessee waltzes back with lost play

N.Y. production of 'House' may become a reality

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PLAYWRIGHTS ON WRITING: Richard Greenberg's fresh perspective

The phrase 'sad little play' hung in his mind -- no way did he want them applied to his new script. Perhaps it was time to rearrange his thinking.

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The White Stuff By: Brian Scott Lipton

From Up Here's Julie White discusses returning to New York, playing mothers, her obsession with Project Runway, and Mickey Rooney's revenge.

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Open season on 'Port Authority' By Peter D. Kramer

John Gallagher Jr. knew he had to be careful with the follow-up to his Tony Award-winning performance in "Spring Awakening."

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PAGE SIX

IF Bruce Springsteen has a beef with the new Broadway musical "Glory Days" for ripping off one of his hits, he shouldn't blame its creators.

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Star of Stage, Screen, TV and Bathtub By DAVE ITZKOFF

Craig Bierko reinvents himself as a talk-show host with a difference (and a lot of soap and water).

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Musical slate way up Down Under

It's always feast or famine in the musical theater market in Australia, but right now auds are feasting like never before.

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Classic rock 'n' roll - with lotsa Rapp BY MICHAEL GILTZ

Don't expect to hear any old-fashioned show tunes when Broadway star Anthony Rapp performs at Queens Theatre in the Park on Saturday night.

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Broadway stages switcheroo

'August' and '39 Steps' swap venues

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'Evil Dead' kills in South Korea

Canadian adaptation a hit overseas

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A Distinguished Professor With a Ph.D. in Nonsense By COREY KILGANNON

Irwin Corey, a 93-year old comedian, is being billed as "The World's Foremost Authority," a reference to his trademark style of highfalutin double talk and long, nonsensical observations.

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THEATER REVIEW: 'My Fair Lady' at the Ahmanson By Charles McNulty

By George, the old girl is indestructible.

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My Fair Lady

Revisiting the stage production of this classic musical is like going to your high school reunion and finding that high school sweetheart really deserved to be your first love and that there…

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My Fair Lady
Review By BOB VERINI

Part of an ongoing U.S. tour that so far has bypassed Gotham, production is a more character-driven, deeply felt "My Fair Lady" than most (and more so than the 1964 film). But at the price o…

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Fire Island - Reviewed by JERRY PORTWOOD

Charles Mee's play attempts to capture the fleeting seduction of a summer weekend in the popular island retreat. In the hands of director Kevin Cunningham, it becomes a Felliniesque video-ar…

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Fire Island

A rare marriage of material and production which director Kevin Cunningham weaves into an exuberant whole.

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Oh, to be in love at the beach BY MICHAEL SOMMERS

An unorthodox event perhaps enjoyed best by the younger crowd -- or at least the younger at heart -- "Fire Island" offers an overlapping series of conversations regarding love, passion and t…

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Fire Island
Reviewed by: Patrick Lee

Charles Mee's latest collage piece is visually impressive but lacks the narrative drive to sustain its 90-minute length.

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What They Have
Costa Mesa Review by: Rob Stevens

Kate Robin's world premiere about two different couples in Hollywood is one of the best plays of the year.

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THEATER REVIEW: 'What They Have' By Charles McNulty

A privileged quartet tackles failure and loss in the gabby play at South Coast Rep.

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'Three Girls and Their Brother' By THERESA REBECK
Reviewed by JANET MASLIN

Theresa Rebeck, a playwright, screenwriter and television writer, has written an amusing if one-note debut novel.

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Untitled Mars (This Title May Change) - Reviewed by JERRY PORTWOOD

The intentionally confused acting by a talented international cast keeps the plot from being obvious; the entire performance feels as if it might have sprouted organically in some creative h…

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Satyagraha
Reviewed by: David Finkle

Phelim McDermott and Julian Crouch bring a timeless production of Philip Glass' 1979 opera about Mahatma Gandhi to the Met.

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Better Late
Review By STEVEN OXMAN

There's no questioning the commercial appeal of this show. It skates along an elegant surface while acknowledging the deeper waters below.

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Bickering, shtick and pith BY HEDY WEISS

Veteran actors at home in TV writers' play about family transitions

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In a One-Man Show, the Essence of Dr. King By NAOMI SIEGEL

"The Man in Room 306" challenges the audience to confront viscerally one of the most tragic moments in our country's history: the assassination of the Rev. Dr. Martin Luther King Jr.

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Tomorrow's Hopes Tinged With Regret By ANITA GATES

In the Westport Country Playhouse's wry new production of "Time of My Life," the play opens with a guest who is about to be sick and then things get uglier - in a civilized British way.

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Like marriage, musical revival has two sides By Daryl H. Miller

Following 50 years of family life, 'I Do! I Do!' has periods of dullness but also offers humor and promise.

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SPLIT DECISION By Leonard Jacobs

Democracy in America turns de Tocqueville topsy-turvy

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Great Expectations

This musical has the advantage of not only hitting all the plot points but providing back story on Miss Haversham's lover not revealed in any other production. It also illuminates psychologi…

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Lainie Kazan - Reviewed by DAVID FINKLE

What do you do when a singer gets two-thirds of the way through a set and then mentions dealing with a little flu problem? You cut the performer some slack.

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'Wicked' storms through Florida

Road Grosses

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Oh, Happy Theatergoers

You know what expression you don't much hear any more? "The Fabulous Invalid." It was a term often used in the early part of the last century to describe theater as an ailing endangered species—please take you medicine, dear stage—but something that always seemed to survive, no matter what. And if we could pick one musical to typify the fabulous invalid, wouldn't it have to be Candide?

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Jolly Roger, thanks to May

She's still at it, and today's theatergoers are going to be mighty glad she is. Almost a half-century ago, Elaine May was spoofing telephone calls. Now, at the George Street Playhouse in New Brunswick, May shows she's kept up with the technological times in the world premiere of her winning comedy, Roger Is Dead.

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On the Record, by Steven Suskin

Jim Dale and Glenn Close in Busker Alley and a Newly-Recorded Vernon Duke

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A Thing Called Hope: The Timely Return of South Pacific, by John Lahr

By the time South Pacific closed its run on Broadway, after five years and nineteen hundred and twenty-five performances, it had done its work in the world. But the show's defining impact was not financial; it was subliminal.

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Dramatic Power Couple: Theater Is Their Castle, by Charles McGrath

The director Rupert Goold and his wife, the actress Kate Fleetwood, are working together in the Broadway production of Macbeth.

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Broadway's Cookie, Un-Sugarcoated

Faith Prince is returning to Broadway in A Catered Affair, a risky show even by the standards of an insanely risky industry.

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A First-Timer Makes Rhett and Scarlett Sing, by Donna and David Kornhaber

Margaret Martin is, to say the least, a highly unlikely choice to write the book, lyrics and music for a major West End musical version of Gone With the Wind.

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Give Their Attitude to Broadway, by Zachary Pincus-Roth

The writers of the score for the musical Cry-Baby have gone from Fountains of Wayne and The Daily Show to a whole new stage.

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Examining the Economics of Off Off Broadway, by Campbell Robertson

This week the New York Innovative Theater Foundation released what is intended to be the first of several studies of Off Off Broadway economics.

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The Playboy Was a Spy, by Stephen Koch

"Celebrity was wonderful cover," Noël Coward said near the end of his life. "My disguise would be my own reputation as a bit of an idiot ... a merry playboy." In 1973, a month before he di…

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Hey, Old Friend: Glory Days Creators Write What They Know, by Kenneth Jones

When Nick Blaemire and James Gardiner were infants, La Cage aux Folles, Sunday in the Park With George, and Big River were also coming into the world. No one would foresee that within 23 years, all three musicals would enjoy Broadway revivals and that young Blaemire and Gardiner—who had been pals since their high school years in Maryland—would be musical theatre writers with a Broadway show of their own.

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Onstage & Backstage, by Seth Rudetsky

"Bravas" for Kristin and Matthew

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A Roundabout Route to A Catered Affair, by Wendy Weisman

In 2004, composer John Bucchino received a fan letter from an unexpected source: the performer and polymath Harvey Fierstein. Mr. Bucchino, flattered by the attention, suggested they meet. L…

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Mark Twain's Blues, by Steven Suskin

The final chapters of Adventures of Huckleberry Finn have long sparked controversy among Twain scholars, who concluded that the author, facing writer's block, tacked on a contrived ending that put a damper on what is nevertheless considered the first great American novel. That thesis is the starting point for Walt Stepp's Mark Twain's Blues, which has transferred Off Broadway after a limited engagement in February at Altered Stages.

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My Fair Lady, reviewed by Bob Verini

While most productions of My Fair Lady are awash in class, the 2001 National Theater of Great Britain revival overflows with class consciousness. Original helmer Trevor Nunn unearths, within Lerner and Loewe's timeless tuner of transformation, a pertinent social critique harking back to Shaw's Pygmalion original. Part of an ongoing U.S. tour that so far has bypassed Gotham, production is a more character-driven, deeply felt My Fair Lady than most (and more so than the 1964 film). But at the price of a certain heaviness, material's essential joie de vivre is offset by a cold center.

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Nostalgia Is What It Used to Be, by Jeremy McCarter

On a newly experimental Broadway, the naïvely optimistic South Pacific harks back to a different age.

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