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| The 39 Steps
As Broadway becomes more reliant on huge spectacle, this inventive adaptation of a classic film demonstrates that two planks and a passion for fun beat a soulless multimillion-dollar blockbuster any day.
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| Top Girls
In James MacDonald's first-rate revival the amazing first-act meal becomes a soaring symphony of ideas and cultures.
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| Glory Days
Glory Days has two stories. The first is contained within this poorly written excuse for a musical. The second is how Glory Days ever got to Broadway to begin with.
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| Boeing-Boeing
Who would have thought a sex comedy from the early 1960s would become the laugh-riot hit of the 2008 Broadway season?
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| Les Liaisons Dangereuses
Though it is more overtly sexual than the original production, the Roundabout Theatre Company's revival is not as sexy as the initial incarnation.
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| Thurgood
With the dramatic potential of centuries-old racial barriers crumbling, a powerful actor in the only role, and a skillful director, the play should be a socko cinch. So why is Thurgood only good and not great?
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| The Bully Pulpit
A first-rate monodrama, elegantly written and piquantly performed by Michael O. Smith, The Bully Pulpit presents a splendid theatrical portrait of Theodore Roosevelt.
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| Damascus
Ultimately, though beautifully performed, fleetly directed by Philip Howard, and gorgeously erudite, Damascus only teases, never satisfies.
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| Old Comedy After Aristophanes' Frogs
It's not much fun on the exterior of an inside joke, especially when that joke comes in the form of a smug, interminable bit of self-referential theatre.
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| The 1959 Broadway Songbook
Let's hope the Lyrics & Lyricists deciders -- these days looking around determinedly to refresh a long-running house attention-getter -- don't try something like this again.
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| No, No, Nanette (In Concert)
Fizzy as strawberry phosphate, chic as bathtub gin, and despite plot lines thinner than Kate Moss on a hunger strike, No, No, Nanette offers the most glamorous, well-choreographed event of the Encores! season.
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| Marathon 2008 Series A
This part of the 30th marathon of new one-act plays at Ensemble Studio Theatre is an entertaining evening out.
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| Raissa Katona Bennett: Putting Things Away
Raissa Katona Bennett not only has a sweet yet sturdy voice -- even piercing and fierce when she wants -- but she puts a generous helping of intelligence behind what she does.
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| John Treacy Egan: Count the Stars
Nice enough, but nice only goes so far. A little more excitement -- a little bit more De Bris-Liebkind-Bialystock -- from him next time out wouldn't be amiss.
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| Mill Fire
Sally Nemeth's 1989 Mill Fire, set in 1977 and '78, is a rare example of a play that raises issues about labor and justice without losing its humanity.
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| Rachel York
York is so profligate when tossing around the vocal and physical dynamics that there isn't much room for genuine feelings to push through.
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| F*ck Me, B*at Me, L*ve Me
It's pretty hard to make sex boring. Yet the condoms, lube, and dangling genitalia flaunted across the stage, F*ck Me, B*at Me, L*ve Me manages to make the titillating tiresome.
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