Broadway Review

Seminar

The writer's hand is too obvious in Theresa Rebeck's play about writers, but Alan Rickman's stingingly understated performance almost makes up for the play's shortcomings.

Private Lives

Director Richard Eyre's insistence on naturalistic acting rooted in emotional truth pretty much does in the current Broadway production of Noël Coward's archly delirious comedy.

Hugh Jackman, Back on Broadway

Is there anyone else in show business today who can levitate an audience the way Hugh Jackman is doing right now in his not-exactly-one-man musical show at the Broadhurst Theatre?

Venus in Fur

Nina Arianda reignites her blazing performance from the original Off-Broadway production of this kinky two-hander in the new Main Stem version, shooting sparks and burning brightly.

Godspell

Director Daniel Goldstein doesn't trust the innocent charm of John-Michael Tebelak and Stephen Schwartz's 1971 hit and relies on too many gimmicks and topical references.

Other Desert Cities

With Rachel Griffiths and Judith Light stepping seamlessly into the tight five-person ensemble, Jon Robin Baitz's compelling family drama remains both grandly entertaining and deeply perceptive.

Chinglish

David Henry Hwang's latest play is a smart and uproarious comedy examining the difficulties in bridging the different cultures of contemporary China and America.

Relatively Speaking

Woody Allen is as funny as ever, contributing a riotous farce that's equal parts Marx Brothers and Freud, but Ethan Coen and Elaine May get mixed results in this program of three one-acts.

The Mountaintop

Katori Hall's two-character fantasy on Martin Luther King Jr. fails to delve into the complexities of American race relations and features an over-the-top performance by Angela Bassett. 

Man and Boy

This revival of a lesser-known Terence Rattigan melodrama about an international tycoon has an uneven balance sheet, but Frank Langella's performance is one of its stronger assets.