This earnest, nicely staged attempt at humanizing an iconic figure results in perhaps unintentional sniping at the legacy of Martin Luther King Jr. and adds little insight into it.
Off-Broadway Review
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The one-acts of "Summer Shorts 4: Series B" are linked by moments of development and personal growth: a graduation ceremony, a reconciliation, a pregnancy, a reunion.
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Only Tina Howe, the author of such eccentric and lyrical works as Painting Churches and Coastal Disturbances, could take what is essentially an episode of The Golden Girls and turn it into a tenderly sad and riotously funny meditation on age, family, and freedom of expression.
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Monica (Leslie Kritzer), outgoing, ambitious, and Jewish, and Ian (Doug Kreeger), introverted, moody, and Catholic, become unlikely collaborators and lovers in Paul Scott Goodman and Miriam Gordon's genial Rooms: A Rock Romance.
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"We sent our eldest daughter to a multiracial school in Swaziland for two years—in the '80s." If you want to understand the gnawing power of Ian Bruce's new play 'Groundswell', look to that line. It describes a self-sacrificing commitment to racial equality or a hollow gesture from a ...
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Though occasionally spinning its wheels by doubling back on itself in form and substance, 'Next Fall' is shot through with such sincerity, such depth of feeling, such genuine questioning that it thoroughly captures the attention.
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Think of the first half of "#9" as the best kind of first date you can possibly imagine: The chemistry is strong and dynamic. Think of the second half of #9 as, well, if not the worst second date you can possibly imagine, certainly one of the worst.
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See "FUBAR" if you want to experience theatrical shock and awe. So smart, entertaining, stylish, and surprising is Karl Gajdusek's play that it risks looking too slick and hip in any description.
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Late in "Stunning," a woman stands center stage and mutters, "I can't end it." Sometimes authors have a way of infecting characters with their own struggles.
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You don't have to be Hungarian to love "Ivanov" as rendered by the Katona József Theatre. In fact, you don't have to be any particular nationality to discover the human faces and tragicomic underpinnings of this early Chekhov play.
