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You've Prada be kidding me.
The off-Broadway cuckoo camp-fest at the Asylum in Chelsea is, by a nautical mile, the funniest musical in town right now.
It’s a straightforward, to-the-point play, but one that’s easy to embrace.
Beanie Feldstein isn’t the only star being slighted on Broadway during this cruel summer.
The chatter on the Rialto Tuesday was that Feldstein might vamoose even sooner than July 31 because of the onslaught of media attention.
The $15 million production surely hopes Michele can turn things around.
Like a walk in the park: relaxing, slow, carefree, aimless.
What we experience is the 1986 musical, plain and simple.
Where we’re going, we don’t need roads — we need ticket sales!
Eyes red, heels broken, sequins … everywhere. Big bustling bashes were back in full force after last year's pandemic-hobbled celebrations.
On Sunday night, almost nobody at Radio City Music Hall bothered to stand up for the late Stephen Sondheim.
The new show, based on the comedian’s memoir, is not as tight as a fitted sheet.
The race — capping off a bizarre year — is closer and meaner than it looks.
The nominations notably shunned many of the Great White Way’s most famous and bankable names: Daniel Craig, Debra Messing, Sarah Jessica Parker and Matthew Broderick.
A new off-Broadway show, “H*tler’s Tasters,” is inspired by the young German women employed by the Nazis to prevent Hitler from being poisoned.
The former James Bond stars in an uninvolving and ponderous production that's a real Blunderball.
The new musical has hearty laughs and glorious punchlines that are knocked outta the park by a master.
The new play is a weird and wired comedy that imagines a White House fiasco.
“Ouch!” is the main takeaway of the intriguing, autobiographical new musical “A Strange Loop,” which opened Tuesday night on Broadway.
The set is the real star in Thornton Wilder’s geezer of a play that saw its latest revival open Monday night on Broadway.
This sorely lacking new production rains on the old musical’s parade.
The new comedy is a heaping scoop of jaw-droppers and taboos — albeit with a sophisticated takeaway about the justice system — that’ll make wimps clutch their pearls for dear life.
The sluggish revival of the 1976 drama, which opened Wednesday night on Broadway, doesn’t make a particularly compelling case for its up-to-the-minute-ness.
Mary-Louise Parker returns to the role she first played 25 years ago in "How I Learned To Drive" on Broadway.
The new play from the “August: Osage County" scribe has crackling dialogue, strong-willed performances — and an ending that's prompting audience members to run.
A pass-the-popcorn revival of David Mamet’s carnivorous 1975 drama has opened on Broadway.
Barry Manilow’s new musical “Harmony” has a lot going for it. Still, there is some discord.
Can she sing and dance?! That’s been the question on everybody’s lips since we first learned the "Baywatch" star was daring Broadway
“Prince” is much too petit for big old Broadway.
There are flickers of beauty in the new Broadway play “Birthday Candles.”
The A-list London show tries to differentiate itself with that brand of breathing-down-your-neck intimacy and immersion.