Playwrites News: NYC Theater
NYT > TheaterThe Signature Theater Company?s new home, designed by Frank Gehry, won?t be as grand as the one planned for the World Trade Center site, but it is more affordable.
?Happy in the Poorhouse? is a big, sloppy kiss of a family drama delivered with the warmth and gusto of an overly affectionate aunt.
There?s something ugly going on in this likable if shaky one-act, Repertorio Espańol?s newest production.
?Good Ol? Girls? ? starring five talented, attractive women with Southern accents ? puts down 99 percent of Southern men. So tell us again, what is it celebrating?
A previously unknown Tallulah Bankhead ? the fabulous monster as crackerjack comic ? is revealed to the world in Matthew Lombardo?s cruel but enjoyably catty play ?Looped.?
Lea Salonga is the vocal personification of what might be called the Broadway and Hollywood international style.
The actress Elizabeth Marvel has drawn praise over the years from critics and theatergoers for her poise and dexterity with both classical roles and contemporary parts.
Target Margin Theater?s new show revisits an experimental Tennessee Williams and Elia Kazan production that flopped on Broadway.
Athol Fugard, the South African playwright, is back telling stories shaped by his country?s tormented racial history. His new play will have its premiere at a theater named in his honor.
Onstage in "A Midsummer Night's Dream" Judi Dench gives a lesson in how to love.
The final installment of answers from Marc Robinson, the author of "The American Play: 1787 -- 2000."
Selective listings from theater critics of The New York Times.
?Lenin?s Embalmers? will teach you to beware those in seats of power who issue orders that carry the whiff of crazy.
?The Demons,? a 12-hour production of a grim Dostoyevsky novel that will be performed only twice, may be the must-see show of the New York theater season.
?Next Fall? is that genuine rara avis, a smart, sensitive and utterly contemporary New York comedy.
The new musical from the fabled songwriting team of John Kander and Fred Ebb wears its halo like a barbed-wire hat.
While Jonathan Reynolds?s assault on assumptions about the right to choose abortion is likely too crude to make theatergoers re-evaluate their positions, it did make me reconsider my view of political theater.
The Schoolhouse Theater production of ?Kimberly Akimbo? finds the comedy in a teenager facing an early death ? and that isn?t her only problem.
While ?Top Secret: The Battle for the Pentagon Papers? offers a cogent, informative peek into a historic chapter in 20th-century journalism, as an evening of theater it is static.
Andrew Bovell?s ?When the Rain Stops Falling? is a fitfully moving but diagrammatic play about the long legacy of unnatural acts.
The Red Bull Theater?s muddled production of John Webster?s ?Duchess of Malfi? appears in the process of being explored rather than already discovered.
In ?Blind,? the playwright Craig Wright has embarked on a modern retelling of the Oedipus story, but it?s never clear why he?s doing it.
Jeanine Tesori, as part of Lincoln Center?s American Songbook series, was the host of an autobiographical extravaganza at the Allen Room.
Andrew Lloyd Webber?s belated sequel to ?The Phantom of the Opera? feels as eager to be walloped as a clown in a carnival dunking booth.
Unflattering nickname for Andrew Lloyd Webber's latest musical "Love Never Dies."
Laura Linney and the makeup artist Mindy Hall gave a reporter a mini-tutorial on the art of the scar.
Temperatures rise in ?Ghosts? and irony betrays ?Sweet Nothings,? as Andrew Lloyd Webber?s ?Love Never Dies? opens.
The show business trade paper said ?economic reality? dictated jobs cuts, eight in total.
