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Friday, November 14, 2008 at midnight (Broadway Time)
Selective listings from theater critics of The New York Times.
Awards to take place on Dec. 5 in London
Ticketmaster said that it has started experimenting with the sale of concert tickets without the addition of so-called convenience charges.
DreamWorks holds onto Morgan's 'Hereafter'
In "Ziegfield," the fabled history of famous theatrical producer Florenz Ziegfield is made fresh again.
Never content to rest on its laurels, this year's splendid "Radio City Christmas Spectacular" builds on last year's reimagined and reinvigorated 75th-anniversary model.
When belting in the expansive chest voice that dominated Wednesday's show at the Metropolitan Room, Baby Jane Dexter exerted a formidable command.
The has-no-bad-angles Marcovicci is singing better and better these days. In her latest show, she rises to her usual level and beyond it.
Noah Haidle's brief, wistful and melancholy brings an astrological aspect into play.
Absurd comedy and melancholy are center stage in What's That Smell: The Music of Jacob Sterling.
Mike Birbiglia's pacing is simply perfect in "Sleepwalk With Me," his funny, appealing one-man show at the Bleecker Street Theater.
Personal appearances by true theatrical visionaries are rare enough that attention must be paid, even when the work at hand is less than their seamless best.
"Sexual Neuroses," an Electric Pear production directed by Kristjan Thor, is a serious, thematically layered work that should be more interesting than it is.
IF John McCain had won the election, Alan Cumming wouldn't be an American.
If you want to see "Gatz," the Elevator Repair Service show based on F. Scott Fitzgerald's "The Great Gatsby" and coming to Chicago's Museum of Contemporary Art for three performances next weekend, start carvin…
I've seen my share of bad Broadway musicals, but I can't recall one that was quite so vulgar and bogus as "Billy Elliot."
A hit in London, where it opened three years ago and continues to run, this show is comparatively lean pickings for Americans raised on dynamism-defining dance titles like On the Town, West Side Story, and A Ch…
A smash in London ever since its West End premiere in 2005, "Billy Elliot" arrives at the Imperial Theatre with its parts intact but its spirit plasticized and pasted with glitter.
Broadway's 'Billy Elliot' has all the right moves.
"Billy Elliot," the heavenly musical that opened last night at Broadway's Imperial Theatre, arrives with exquisite timing.
It pumps fresh life into the crowd-pleasing, old-fashioned, traditional musical.
It's not often that a musical comes along that is as ambitious as it is emotional - and then succeeds on both counts.
Who would have guessed that a musical in which conservative economic policies deal a death blow to the working class could be such an uplifting experience?
The Elton John-Lee Hall musical adaptation of the hit film about an English boy who decides to become a ballet dancer is gangbuster entertainment.
Billy Elliot does almost everything a musical should do, and more. It's a diplomatic triumph.
What could easily have become a feel-good treacle fest - particularly with Elton John composing the music - turns out to be one of the smartest and most satisfying Broadway musicals in years.
"Billy Elliot" -- London's long-running hit with Elton John's music, finally replicated on Broadway -- really does have something for everyone, and that something is, gloriously, art.
Broadway's long, dark, dry spell of big, smart, smash musicals is officially over. "Billy Elliot," the 2005 London adaptation of the 2000 movie, finally arrived in a production as seriously thrilling as it is d…
Much of the power of "Billy Elliot" as an honest tear-jerker lies in its ability to give equal weight to the sweet dreams of terpsichorean flight and the sourness of a dream-denying reality.
Stephen Daldry talks about directing the musical "Billy Elliot."
The producers of "Billy Elliot" are currently in negotiation to bring the musical to Chicago. Here's why the show could be the next "Wicked."
Stephen Sondheim talks about his fascination with two American dreamers and how it led him and collaborator John Weidman down the long road to Road Show.
According to industry sources familiar with the situation, ABC has decided not to produce any more episodes of the critically beloved show this season. Word of the show's apparent death began spreading around H…
Cutting costs in the wake of the economic downturn, the Met is dropping next season's highly anticipated revival of John Corigliano's "The Ghosts of Versailles" that was to feature the company debut of Broadway…
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