New York Theater

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  • Reviews

    Garrison Keillor: Man in Tux & Red Shoes with Piano

    When Garrison Keillor picked up the cordless microphone to begin his first Feinstein's at Loews Regency number, the fool contraption was off. He tried the mike on a second mike stand. Nothing.

  • Reviews

    The Scene

    Plays are like road trips. Sometimes they start full of optimism, and the ride is smooth and uneventful. Sometimes they start full of optimism and then the brakes fail.

  • Reviews

    Avenue X

    This production, set in the doo-wop world of Gravesend, Brooklyn, in 1963, is technically superb and, ironically, ultimately soulless.

  • Reviews

    My First Time

    As cyber technology seeps deeper into our existence, theatre, like every other aspect of daily life, is gradually becoming more fragmentary, like the bytes and bits that make up our superfast, limited-attention-span world.

  • Reviews

    Penetrator

    With his lanky frame, unusual haircut, and facial scruff, Max (Michael Mason) is immediately recognizable as a New York hipster.

  • Reviews

    Spring Awakening

    Based on the 1891 play by Frank Wedekind,Spring Awakeningremains breathtaking in ways one couldn't anticipate when the musical ran Off-Broadway at the Atlantic Theater Company last spring.

  • Reviews

    The Threepenny Opera

    Alan Cumming needs to find a new role, and the rest of the company is an equally mixed bag.

  • Reviews

    The Infliction of Cruelty

    The older children of the famous composer Franklin Pascal know a terrible secret about their father that they stumbled on as teenagers.

  • Reviews

    The Fall and Rise of the Rising Fallen

    Spinal Tap wasn't a real band, but it was made up of people playing music, thus, uh, making it a band.

  • Reviews

    Roberta (In Concert)

    Jerome Kern's melodious 1933 ode to Paris fashion might seem an odd choice for the modest means of producer Mel Miller's enterprising company.