“The Flick,” Annie Baker’s deliberately anti-theatrical drama at Playwrights Horizons about the banal existence of employees of a rundown cinema, can’t sustain at three hours plus.
Theatre for a New Audience brings the Young Vic’s “Kafka’s Monkey” from London; Kathryn Hunter’s revelatory performance as an ape turned human is poignant, athletic, haunting, and funny.
“Let’s Kill Grandma This Christmas,” Brian Gianci’s “twisted new comedy,” offers tantalizing hints of depth but traffics mostly in one-note characters and tasteless yuks.
Get coached on how to vocally style your audition for shows like “Kinky Boots,” “American Idiot,” and “Rock of Ages!”
ReGroup Theatre’s production of “Big Night,” Dawn Powell’s 1932 comedy, can be seen as either brave or foolhardy. The too-young performers seem mostly to be in over their heads.
With its shoddy script, floundering cast, and odd blend of banal ballads, jazz, and Japanese tunes, Okada Productions’ “Kikki & Grandpa & Baby” is a perplexing, unaffecting shambles.
With “Forbidden Broadway: Alive and Kicking!,” creator, writer, and co-director Gerard Alessandrini returns after a three-year sabbatical sharper and funnier than ever.
The songs have long been standards, but O’Hara is excited about offering a fresh take on the material.
Sam Shepard’s “Heartless,” his latest symbolic drama, gets loving attention from Signature Theatre and offers fine performances, particularly from Lois Smith, but still fails to accrete in a persuasive way.
Del Shores ("Sordid Lives") knew that he needed to make his play "Southern Baptist Sissies" into a film, and on a budget, he created something inventive—a film of the play.