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Sunday, May 4, 2008 at midnight (Broadway Time)
This multimillion-dollar spectacle dresses and sneers like a leather-jacketed outcast, but turns out to be as squeaky-clean and edgeless as a country-club preppy.
In Nichols's account of this talky backstage drama, there's not much life in the wings; the play flaps and flaps, but doesn't take flight.
From a distance, this production of Macbeth is less dynamic than originally thought.
Despite boasting a stage filled with figures in provocative costumes, Babylon Babylon feels slow and tame.
At a time when rehabilitation and second chances aren't popular philosophies of justice, this uneven but still effective production proves that there's hope for redemption.
For its latest opus, the team musicalized Shakespeare's pastoral romantic comedy As You Like It, setting it in feudal Japan with samurai in place of French royalty. If that reframing sounds bizarre, that's because it is-but it also works.
Although Margolin has dissected her own play into four barely interrelated scenes, this gambit does not make the evening as a whole more endurable.
These lonesome and damaged people, at once strange and totally credible, have marvelous dimension in Liz Diamond's polished, multifaceted production for Women's Project.
Belgrader's sensitive direction helps the actors steadily walk a fine line between tragedy and comedy as they plumb the serio-comic implications of Beckett's study in mortality. The results are a memorable prod…
Boy meets boy in Trinity Rep musical
Maybe you've never heard of Dear World, Bristol Riverside Theatre's current production. Chances are, you know its source material, Jean Giraudoux's postwar dig at French war profiteers, The Madwoman of Chaillot.
The intensity and fragility of youthful friendship are movingly evoked in this new play that was developed in improvisations and then worked into shape by writer Nick Sanzo.
A series of different American Ballet Theater men is gracing various City Ballet lineups of Jerome Robbins's "Fancy Free" this season.
The themes of regret, jealousy, immigration and domestic violence central to "Street Scene," Kurt Weill's 1947 opera about life in a New York tenement, are still relevant.
For all of Collins & Co.'s deliberate obfuscations and juggling of roles among multiple actors, there are moments of shocking clarity that break your heart; so much, everything, is signified.
Elevator Repair Service puts Faulkner on stage-verbatim.
One wishes that Stevens had devoted less time to Marshall's public trials and more to his private tribulations.
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