Kirsten Holly Smith is Dusty Springfield incarnate in this musical bio, which is ramshackle in dramatic terms but makes for a dandy evening of the singer’s greatest hits.
Richard Horvitz gives an amusing performance as misfit little boy Jeffrey in Theatre 40’s two-hander about etiquette school in the ‘60s, but the show misses several opportunities for laughs.
At Soho Rep, Jackie Sibblies Drury’s “We Are Proud to Present a Presentation…,” about Germany’s virtual extermination of the Herero people of Namibia, is pulse-pounding theater.
LaGuardia High School's upcoming performance of "Sweet Charity" will rise to the next level thanks to a generous donation by SINGER.
In “Scandalous,” Kathie Lee Gifford’s flimsy, expository musical about the life of evangelist Aimee Semple McPherson, Carolee Carmello works miracles in a must-see performance.
At its best, “Giant,” Sybille Pearson and Michael John LaChiusa’s adaptation of Edna Ferber’s sweeping 1952 novel of Texas, at the Public Theater, is compelling musical theater.
Julia Jordan and Juliana Nash’s sex-fueled new rock musical “Murder Ballad,” at Manhattan Theatre Club’s New York City Center Studio at Stage II, is electric with energy.
Francine Volpe’s new drama “The Good Mother,” at the New Group, is convoluted and uninvolving, save for Mark Blum’s hypnotically fascinating turn as a troubled therapist.
"Boardwalk Empire"'s Gretchen Mol discusses her return to the stage in The New Group's psychological thriller, "The Good Mother."
When actors are surrounded by bad choices in a theater production, you can choose to treat it as a life experience.