This unlikely pairing of Michael Feinstein and Dame Edna Everage resembles a TV special from the 1960s—pleasant and mildly amusing but familiar and forgettable.
Broadway Review
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Playwright Matthew Lombardo stretches a showbiz anecdote into a two-hour play. Fortunately, Valerie Harper delivers a tour de force performance and almost makes up for the show's thinness.
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Geoffrey Nauffts' tender and compassionate play about a gay couple in conflict over religion loses intimacy in its Broadway transfer but none of its power to move.
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Christopher Walken gives a bizarre, kooky, and captivating star turn in Martin McDonagh's blood-soaked black comedy. But don't look for anything deeper than a few gory laughs.
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The story of teacher Annie Sullivan unlocking the deaf-and-blind young Helen Keller from a world of darkness carries an elemental power that survives even director Kate Whoriskey's troubled staging.
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In Donald Margulies' new drama "Time Stands Still," Laura Linney proves yet again she's one of our finest actors. Even when others are speaking, we are drawn back to Linney.
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Liev Schreiber and a brilliant cast bring new life to this oft-produced Arthur Miller tragedy, staged with stunning simplicity by Gregory Mosher.
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Noel Coward's comic warhorse is hyped and coarsened, as if director Nicholas Martin doesn't trust American audiences to get Coward's very English humor.
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While it's hard not to miss the romantic sweep and orchestral lushness of Harold Prince's glorious original production, Trevor Nunn's chamber version is a persuasive and entertaining account of a great American musical.
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David Mamet's new play has plenty of sharp observations on the state of race relations in contemporary America, but it's more a political tract than a compelling drama.
