Reviews

Sort by:

  • Reviews

    From the Top

    Presented by and at The WorkShop Theater Company, 312 W. 36 St., NYC, Feb. 3-23.

  • Reviews

    SIMCHA

    at the Reuben Cordova

  • Reviews

    IN A DARK ROOM

    Playwright/director William A. Davis' wrenching drama charts the legacy of child abuse left to a pair of siblings, now adults, who try to put their tortured pasts behind them—with a sad lack of success. Jessica (Laura A. Rice) and Alex (Heath Silvercloud) are sister and brother hobbling along ...

  • Reviews

    ENTER THE GUARDSMAN

    A husband begins to suspect that his wife—who also happens to be his professional partner—is cheating on him. As his suspicions grow, his good judgment crumbles and his sanity becomes suspect. The Secret Lives of Dentists? Well, yes, but it's also the plot of the 1997 musical ...

  • Reviews

    TRUST ME

    In playwright/director Richard Redlin's crisply executed but slight one-act, trust is the one thing missing: Omnipresent instead are spite, greed, and sublimated hate. The quick-witted and ultimately disturbing drama—a motel room noir piece that resembles Fool for Love until it switches over into something out of a ...

  • Reviews

    THE GOOD SOUL OF SZECHWAN

    The buzz begins in the lobby, where Veronique Vial's photos of the cast rehearsing and making masks are captioned with an abundance of exclamation points, indicating just how thrilling the creative process is. The excitement continues once you're in the house as actors in black shuttle to and ...

  • Reviews

    Roar

    Presented by the New Group, casting by Judy Henderson, at the Harold Clurman Theatre on Theatre Row, 410 W. 42 St., NYC, April 7-May 8.

  • Reviews

    Moscow

    Presented as part of the LITE Company's Fourth Annual Chekhov NOW Festival at The Connelly Theater, 220 E. Fourth St., NYC, Nov. 4-22.

  • Reviews

    STRANGE BELIEFS

    The latest work of theatre makers Tina Kronis and Richard Alger pulls together a text collage inspired by the life and works of August Strindberg for its "non-linear, non-narrative physical comedy of the absurd." Because movement is the primary language of the piece, an encyclopedic knowledge of the Swedish playwright ...

  • Reviews

    40 Days

    at the Lillian Theatre