This musical manages to insult its audience, logic, and good writing in just two hours.
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This solo play about a fictional author who wrote a book about the Galveston hurricane becomes a journey into one woman's regrettable nonexistence.
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""F#@cking Up Everything" tells the age-old story of a nice guy falling for his perfect girl. Inventive rock music and solid performances elevate this show above the quagmire of cliché.
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How to Be a Good Italian Daughter (in Spite of Myself)
A solo show that traffics heavily in cliché without adding anything new to the genre of cultural-heritage narratives.
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Anderson's narrative—a mix of hip-hop and poetic prose, English, and occasionally Spanish—is neither sentimental nor angry.
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In "Under Fire," writer Barry Harman attempts to look at gray areas in the realms of love, war, and journalism.
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A welcome experiment in sensation that provides powerful jolts of light and noise.
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Douglas Hughes reconsiders David Mamet's explosive two-hander about sexual harassment, and with powerhouse performances from Julia Stiles and Bill Pullman, it's more than just a one-sided battle.
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An uneven tuner attempts to combine musical theatre with opera.
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"All's Well That Ends Well," offers an example of why the National Theatre is one of England's greatest treasures and why it could become, thanks to this series, one of the whole globe's.
