The National Theatre of Great Britain's series of broadcasts to movie theaters continues with a sprawling fantasy that will enchant both adults and children.
Off-Broadway Review
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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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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.
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Musicalizing sex columnist Dan Savage's 1999 book about adopting a child with his boyfriend might seem an unpromising idea, but the New Group's "The Kid" quickly persuades otherwise.
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Gay artists are reclaiming their history. Like "Milk," Jon Marans has done something similar for Harry Hay in his bright and affecting new play, "The Temperamentals."
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Neither a typical monologue nor a freeform performance piece, Megan Riordan's one-woman Las Vegas extravaganza, "Luck," goes all in by drawing on aspects of both.
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The Rude Mechanicals theater company turns ensemble theater into a metaphor for life in this intelligent, funny, and moving new work about an acting guru and her students.
