Ever since I heard Benny Andersson and Björn Ulvaeus' muscular score for "Chess," I have been eager for another musical from them. Unfortunately, "Kristina" is not it.
Off-Broadway Review
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Economics as destroyer is the theme of Nathan Louis Jackson's moving new play "Broke-ology."
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Spatter Pattern or, How I Got Away With It
Neal Bell's story of two death-haunted men has some of the attributes of a Hitchcock thriller but plays better as a stark, low-key psychological drama.
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The Interminable Suicide of Gregory Church
Daniel Kitson's inventive and winning solo show centers on the massive correspondence of a lonely man contemplating suicide. But the replies postpone his date with the noose.
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Actor-playwright Rob Benson's overly studied three-hander, about two brothers clearing the rubbish-strewn flat of their long-estranged, recently deceased father, feels awfully insular.
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Though beautifully designed and dynamically directed and performed, Bryony Lavery's portrait of life among a group of amateur boxers has surprisingly little dramatic punch.
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B.H. Barry stages bracing battles and scintillating sword fights in this stage version of Robert Louis Stevenson's classic, but when the brawling stops, the action grinds to a halt.
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The appeal of Conor McPherson's one-man play is in its value as a prologue of uncertain promise to a playwright's remarkable career.
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Despite some eloquently expressed ideas, Lisa Kron's political drama drowns in a sea of words. Marin Ireland and Deirdre O'Connell do their best to bail it out, but their stimulus package is not enough.
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The Amoralists use this early Adam Rapp play to strike a blow against sclerotic modes of presentation and received attitudes in the minds of audiences and critics. I had a blast.
