In this mesmerizing revival of Tennessee Williams' 1955 Southern family epic, a quartet of performances—backed by a strong ensemble, an impressive set, and thoughtful direction by Brady Schwind—provides a three-hour theatrical treat, from Maggie's Act 1 entrance to Brick's poignant last line in Act 3.
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The frothy comedy with the throwaway title shows just how easily the Bard of Avon could toss off a gem of a play, in this case as he prepared to pen his quartet of great tragedies.
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With an engaging, almost circus-like atmosphere, this unusual piece, written by Brendan Behan in the late 1950s, offers something for everyone. Laughter, tears, joy, and fear intertwine through a collection of wonderfully performed Gaelic tunes.
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They obviously don't have a George Lucas–type budget, but the creative team and cast of "Fight Girl Battle World," a frenetic takeoff on "Star Wars" and other epics of that ilk, make up for the lack with gleeful enthusiasm, fertile imaginations, and boundless energy.
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Playwright Mark Saltzman clearly loves the work of Irving Berlin and Scott Joplin, and he wants to share it with the world. And, indeed, whenever music takes center stage in "The Tin Pan Alley Rag," there is enjoyment to be had.
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Peter Nickowitz's new play "Songs & Statues" is a bit of a conundrum. It's a packed two-hour-and-40-minute drama, about an assimilated Jewish family living in Connecticut in 1958 and dealing with anti-Semitism, whose first act, while engrossing, feels as if it were written in 1958.
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Harry Potter and the Half-Blood Prince
David Yates, in his go at the helm, throws the emphasis on the gathering storm clouds even as Harry and his fellow wizardry students make further discoveries involving the opposite sex.
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Copyright law exists to preserve the original meaning and aesthetic quality of an intellectual property. Without it, the theater would be subjected to a host of knockoff productions.
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Kudos to the folks at Ground Up Productions for taking a chance on Neil Simon's "Barefoot in the Park" after 2006's lackluster Broadway revival.
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When your very first movie became perhaps the biggest sleeper hit in history, with worldwide grosses topping $360 million, what can you possibly do for an encore?
