Where have we seen this scenario before? A brilliant, independent woman—perhaps a little too intellectual for her own good—is afflicted with a debilitating disease.
Off-Broadway Review
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This moral fable of contemporary Ireland—written, performed, and accompanied at the piano by Raymond Scannell—is a story that more often bewilders rather than informs.
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This dance-theater offering is an inauthentic employment of flamenco dance, set against hip-hop sensibilities, in the service of a pummeling, percussion-driven music and movement spectacle.
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A play consisting of nothing but two-person conversations in the same restaurant booth could be static, but this is a moving and funny rumination on fatherhood.
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Watching the magnetic energy and smart staging brought to this rendering of Shakespeare's buoyant history is like being courtside at a great basketball game—and there's great language to boot.
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Playwright J.T. Rogers takes a bracing, multisided look at how America came to be mired in a war against fundamentalism in Afghanistan in this gripping and absorbing drama.
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This play based on Isaac Bashevis Singer's "The Unseen" is a spooky adult fable, yet despite strong performances and vivid design, it drags as much as it provokes.
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The National Theatre concludes its pilot season of broadcasts to movie theaters with a hilarious, bracing, and multileveled rumination on the creative process.
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Maybe it's not so surprising that the Young@Heart Chorus' "End of the Road" could make you laugh or cry. But it can also make a full crowd dance.
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Director Jonathan Demme is stuck in cinema mode for his theatrical debut, and Beth Henley's 75-minute script feels like a first draft.
