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It's better than 'Mrs. Doubtfire', but you will not be singing these tunes as you walk home from the theater — unless you love to rhyme "penis" and "Venus" or "smelly" and "Botticelli.”
Old-fashioned in the best way, 'Morning's at Seven' is about the sense of isolation and failure that hides beneath the surface.
Laughs are abundant and a good time is guaranteed.
Even if you like the easy, predictable clichés of dysfunctional family comedies, this is very boring theater.
The one-woman show gives her a chance to access a darkness she can't often show in her films.
'Harry Townsend's Last Stand' takes a serious subject and dusts it with humor.
She is so fine in a role conceived for the volcanic Italian superstar Anna Magnani that holding center stage amid a swirl of overproduced, over-the-top distractions, she deserves an award of…
It had a profound effect the night I saw it on an audience that was visibly moved
The new Broadway season is officially in motion, and so far unofficially underwhelming.
As for the author, Fillinger is a brave, commanding new presence—a young American dramatist worth keeping an eye on in the future, and deserving of praise already.
Cori Thomas' 'Lockdown' cries out for change in the penal system. It's a good premise, but not a very good play.
Everyone in the cast has been hired according to how loud they can scream, which they do in an eardrum-shattering collection of what some people call music.
Its rhyming of 'real good' with 'Gielgud' is a prime example of why 'Tootsie' is dead on arrival.
This is as good as it gets.
Laurie Metcalf looks and sounds nothing like Hillary Clinton, yet in her role in Broadway's 'Hillary and Clinton' she is, as always, nothing less than mesmerizing.
Even if 'Burn This' offers more ashes than flames, it's a fine chance to experience how bracing it is to hear real people saying real things.
The landmark 1943 Rodgers and Hammerstein production that marked the beginning of a new era in American musicals has now been cheapened and vulgarized at New York's Circle in the Square Thea…
'Smart Blonde' is a sluggish, uneven work in progress, but still worth seeing if you want to discover a dynamic talent on her way to stardom.
Isabelle Huppert's theatrics are quite a display, but you'll go away from 'The Mother' baffled and exhausted.
'The Cake' is easy on the eyes and charming to the ears, but it doesn't provide much nutrition to take home.
Looking back at a catastrophic year, 2019 has got to be better.
This is the first time I have not been moved to tears by 'To Kill a Mockingbird,' but that's my can and I'll carry it.
Much of the antiseptic dilution is the fault of Ivo van Hove, a dour Belgian director.
'Downstairs' doesn't add up to much, but what's there is suspenseful.
Strip away the ropes, cables, wires and pulleys, and what you've got is a brain-damaged story about a boy, a girl, and a monkey. The monkey is the only thing you'll remember.
'American Son' turns over the rocks in the political climate to reveal Democracy-challenging toxins you might not have even considered before.
'The Waverly Gallery' lacks force because as Gladys' mental state disintegrates, her exchanges grow from amusing to confusing.
The play is ultimately about a woman who established her independence before it was fashionable.
I've never seen anything from A.R. Gurney as superficial and unfocused as 'Final Follies'
There's no song lyric so bad it can't be improved by screaming it into cacophonous incoherence.
It opened in 1965 as a disappointment, had a movie that flopped and has not aged well, but even so 'On a Clear Day You Can See Forever' is worth revisiting.