Review

Belle of the Ball Bearings

Even at a mere 60 minutes, Elizabeth Battersby's new one-woman musical, Belle of the Ball Bearings, threatens to outstay its welcome.

Machines Machines Machines Machines Machines Machines Machines

Goofball antics have deeper meaning in Machines Machines Machines Machines Machines Machines Machines, a three-man caper that starts off hysterically but ultimately becomes a tedious exercise in silly physical comedy.

Into the Hazard [Henry 5]

The staging's focal point is a television suspended above the stage on which theatergoers watch Austin Switser's expertly crafted video sequences.

Strangers

Is it possible to do something with faint praise other than damn? Perhaps appreciate or even encourage? If so, 'Strangers', a new piece from the Shalimar developed in the Ontological-Hysteric Incubator, deserves that treatment.

Dr. C (Or How I Learned to Act in Eight Steps)

Theater Mitu takes the fascinating idea of dramatizing the philosophies of eight master acting teachers and ends up demonstrating the term sophomoric.

My Life in Ruins

Nia Vardalos' surprise smash 'My Big Fat Greek Wedding', somehow never spawned a sequel—though it was turned into a disastrous, short-lived TV series.  Now Vardalos has the closest thing to a follow-up.

Land of the Lost

If it was inevitable that someone would get around to doing a big-screen version of Sid and Marty Krofft's hokey 1974 live-action Saturday-morning TV series about dinosaurs, 'Land of the Lost'>, it might as well be Will Ferrell.

Next Fall

Though occasionally spinning its wheels by doubling back on itself in form and substance, 'Next Fall' is shot through with such sincerity, such depth of feeling, such genuine questioning that it thoroughly captures the attention.