Off-Broadway Review

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  • Reviews

    Our House

    "Television is stupid." Well, duh! That seems to be the big message of "Our House," Theresa Rebeck's slipshod satire on modern media.

  • Reviews

    Personal Enemy

    John Osborne and Anthony Creighton's lost play is unquestionably fascinating as a historical artifact. Unfortunately, it plays like an episode of "The Donna Reed Show" on crack.

  • Reviews

    Blood and Gifts

    Playwright J.T. Rogers takes a bracing, multisided look at how America came to be mired in a war against fundamentalism in Afghanistan in this gripping and absorbing drama.

  • Reviews

    Triangle

    This joint effort of a playwright and a historian about the Triangle Shirtwaist Factory fire is both sketchy in its history and lacking in dramatic tension.

  • Reviews

    Hamlet

    For this National Theatre production, broadcast to cinemas worldwide, Nicholas Hytner finds a new interpretation of the most famous play in Western history and creates an Elsinore based on constant surveillance and deceit.

  • Reviews

    It's Always Right Now, Until It's Later

    Daniel Kitson's impeccably self-aware and comic telling of two intersecting tales seems quotidian yet represents a radical paradigm shift in how we view life itself.

  • Reviews

    Bloodsong of Love

    Spirited performances and some toe-tapping tunes, along with clever staging and design, are not enough to disguise the repetitive excesses of this promising tuner parodying spaghetti westerns.

  • Reviews

    #9

    Think of the first half of "#9" as the best kind of first date you can possibly imagine: The chemistry is strong and dynamic. Think of the second half of #9 as, well, if not the worst second date you can possibly imagine, certainly one of the worst.

  • Reviews

    Zero Hour

    Writer-performer Jim Brochu takes on a daunting task in his new solo show about actor Zero Mostel, one of the greatest and most outsized talents ever to grace the American stage and screen.

  • Reviews

    St. Nicholas

    The appeal of Conor McPherson's one-man play is in its value as a prologue of uncertain promise to a playwright's remarkable career.