A Slew of Reviews: Hear practically everyone talking about practically everything: with the family Corcoran on Jersey Boys and Spamalot, Josh on Zorro, Andrew K on the Wedding Singer, new presenter Keith Arro…

It is not until Act II of "Ain't Misbehavin'," the 1978 revue celebrating the musical legacy of Thomas Wright (Fats) Waller, that the show truly hits its mark.

'Private Lives,' by the Shakespeare Theater of New Jersey, is likable and consistently entertaining if somewhat sparkle-deficient.

Only one of these 2 keys unlocks Coward's wit.

Another world premiere in the Berkshires, this one at the Chester Theater.

Having seen the musical before, I expected to be entertained but was unprepared for the remarkably fresh eye director Jeremy Dobrish and choreographer Dan Knechtges bring to the show.

Andrea McArdle, the star of the original "Annie," comes across as a brassy, garrulous trouper marinated in her new show at the Metropolitan Room.

Michael McQuilken is clever, attractive, charismatic, athletic, and funny - which makes it that much easier to overlook the fact that his one-man multimedia talent show lacks an original or compelling story.

"What are you afraid of?" characters ask all too often in "See Rock City and Other Destinations," a road trip tuner that travels a lot of geographical territory but covers limited emotional distance. Even at 90…

Musical vignettes add up to a satisfying road trip

Shakespeare wrote "Romeo and Juliet" in about 1595 and Charles Gounod adapted it into an opera in 1867, but for his debut at the Salzburg Festival, director Bartlett Sher (whose "South Pacific" revival was the …

There are good plays and there are bad plays, and then there are problematic plays by people who deserve a break and may yet become good playwrights. Le Wilhelm writes plays of the last kind.

Le Wilhelm's biographical sketch of the famous French artist is repetitive, badly directed, and unevenly acted.

Clunky, obvious revelations and mixed performances take away from Le Wilhelm's insightful characterizations of fascinating - and often disturbing - artists.

Quiet, slyly metaphorical, and less puzzling (at least to jaded 21st-century eyes) than it means to be, "Home" is the kind of play that felt fresh and truthful then but seems a little too artful now. It's beaut…

There is a palpable autumnal texture to Williamstown Theatre Festival's credibly mounted and performed production of David Storey's "Home."

David Storey's 1970 play holds up in Williamstown's superbly acted production.

Richard Easton and Philip Goodwin -- joined later in the Williamstown Theater Festival production by Dana Ivey and Roberta Maxwell -- demonstrate a lifetime of stage skills in support of a script that has dimin…

Two shorts with bite, two at room temperature. . .

"PeopleSpeak," a witty and acerbic play, is the best of Series B of the Summer Shorts 2 festival at 59E59 Theaters.

Timothy Findley's intriguing play about a meeting between Queen Elizabeth and William Shakespeare's troupe of actors receives an unimaginative production.

There's a ripping good performance taking place in a barn on West 21st Street in Manhattan. The play is "Elizabeth Rex."

New Yorkers don't scare easily, and "The Mole People"'s awkward attempt at auditory story theatre isn't exactly chilling.

Detective work and intuition pay off in a family story beautifully brought to the stage.

Although "Thumbelina: The Story of a Brave Little Girl" is geared primarily to youngsters, there are solid reasons for adults to see this spirited Elephant Ensemble Theater production.

It's a risky business, portraying not only the white-bread schoolteacher you are but also two of your most problematic inner-city pupils. But actor-author Jack Freiberger offers detailed, rounded portraits and …

Playwright-director-star Caroline Lesley isn't even convincing as a bad actor in her new one-woman show about the dangers of meeting one's doppelganger.

When word gets out that the president of Gardenia's homeowners association likes to visit a naturalist resort, much shade is thrown in this charming if inoffensive new tuner.

Some playwrights use peculiar experiences to stoke their art. Yet I'd conjecture that few have been through anything like Stephen O'Rourke's experience working with the mentally ill for the last 18 years.

Do I really believe Michael Phillis, who wrote and performs in "Wish We Were Here," really watched a genie pop out of a hookah while smoking marijuana? Well, no, but it turns out to be an amusing divertissement…

Had playwright Jessica Hinds written her new play with a steadier hand, she'd have a very funny look at the lives of 20-somethings today and the insidious power of television to change their lives. Unfortunatel…

The voices in his head are just the beginning of Brian's problems in Halley Bondy's gripping, imaginative drama.

Montserrat Mendez's sequel to Oscar Wilde's "The Importance of Being Earnest" is a comic masterwork.

Though really a collection of loose vignettes, "Creena DeFoouie" doesn't lack entertainment value.

Using a fine and resourceful sense of theatricality, David LeBarron offers an insightful string of meditations on living and loving the gay life.

Aja Nisenson is a natural storyteller, with an ear for impersonations and an eye for glamorous and gritty detail.

Fortunately, "Galatea" is not just another tiresome reinterpretation of "Pygmalion"; playwright Frank Tangredi brings a fresh perspective to the old tale that is revelatory and moving.

This "long-form sketch show" has intimations of silent-film comedy or maybe Mutt and Jeff.

"Kansas City or Along the Way" is much like the journey it describes: Though fraught with problems, it nevertheless manages to transcend them.

Justin Swain and Jess McLeod turn Joyce Carol Oates' 2005 novella "The Corn Maiden: A Love Story" into a solid, spooky little thriller.

The physical grace and visual imagination on display make this a nonstop pleasure to behold.

Full of theatre in-jokes, corny puns, and pop-culture references, "The Grecian Formula" pulls out every conceivable gag and Broadway cliché as it tears through Western theatre history with comic-book exu…

This amusing but scattered musical occurs right after the incident in which Spears shaves her head, and when it goes into full-throttle satire, it can be terrific.

Don't laugh, but there are similarities between opera and reality television, and composer-librettist Jeffrey Lependorf combines the two formats in a delightful little guilty pleasure.

What a ride! An outrageous, riotous, ribald, raunchy, over-the-top, risqué, nonsensical - leave all logic behind comedy written by Marc Geller and Bill Roulet is at the Cherry Lane Theatre.

Joe Salvatore has fashioned the profoundly moving "III," which anatomizes the enduring and endearing ménage of Glenway Wescott, Monroe Wheeler, and George Platt Lynes, from correspondence, journals, and …

Playwright Patrick Huguenin has taken his experience working for the New York Daily News' Rush and Molloy and transformed it into a very funny and slightly frightening look at the gossip-column wars and the pri…

Reports on III, The Fabulous Kane Sisters in Box Office Poison, Tim Gunn's Podcast (A Reality Chamber Opera), and Becoming Britney.

Reports on Paper Dolls, Other Bodies, The Johnny, and Hidden Fees.

Though Carol Lempert's Dorothy Parker sparkles more than she glares, sharing cocktails and wisecracks with this woman so ahead of her time does make for an agreeable evening.

THE Fringe Festival is bursting with one-per son shows, but you won't find any two more different in tone than "Zombie" and "That Dorothy Parker."

Now that they're returning to the South Street Seaport for the third consecutive summer, the burlesque circus acts that anchor Spiegelworld are challenged by their own legacy.

If the televised Olympics are too sanitary and the hole-in-the-wall strip clubs too sleazy for your tastes, then perhaps you'll find voyeuristic contentment in "Désir."

It's no small feat to glitter in a tent. Yet somehow, Désir manages just that, with blinding success.

A sort of elegant sensuality pervades Wayne Harrison's "Désir," a theatrical circus attraction that uses Schnitzler's "La Ronde" for its inspiration.

My young charge remarked, after the first 20 minutes of "Little House on the Prairie," that she felt she was watching "Waiting for Guffman."

Though it's earnest as all get-out and though the overwhelming majority of the cast is more than up to the task of putting on a top-notch musical, the problems with this show are deep, structural and systemic.

While its components are delivered with near-seamless professionalism, by the end it's hard to imagine the show carving out a distinctive space in the contemporary musical landscape.

In its present form, the musical-crafted by Rachel Sheinkin, Rachel Portman and Donna di Novelli, from Laura Ingalls Wilder's famed series of books-is a frustrating ride.

"Little House on the Prairie" gives young Edina actress Maeve Moynihan a rare chance to build a career while portraying Laura Ingalls' sister.