The chronicle of a woman who is emotionally on the ropes, and of the psychologically beat up family and friends in her corner.
The Front Row Center Pieces – Our favorites from the 2016-2017 season.
With a thin script by early career playwright Isla van Tricht, this year’s Brits Off Broadway festival concludes not with a bang, but with two whiners.
Clare Lizzimore is betting that the audience will buy in to 90 minutes of analysis and hallucination before learning what has gotten her heroine here in the first place. And thanks to a talented cast, crisp direction and some poetic touches by the playwright, the gambit mostly pays off.
A tale of bad romance and questionable financial planning is set in a dead woman’s house on Halloween, but the playwright is not so much concerned with physical threats as she is with intellectual and socioeconomic ones.
For Ruth, bars are not bastions of cheery comradery. Having worked and patronized a slew of them in Manhattan and Brooklyn, they are little purgatories where a health inspector can ruin your day and burgeoning hipsters wave for service using their selfie sticks.
Baghdaddy is a great musical trapped inside of a good musical. Based upon the actual events that led the United States to invade Iraq in 2003, the production is sometimes at battle with itself. At its best, it is a touching look at how small, human flaws can escalate toward catastrophe. At its worst, it is sketch comedy, albeit with free donuts and coffee for the audience.
Director Joe Brancato keeps what could have been a runaway train on the rails, showing a deft comic touch at the start, and painting an ending that is melancholy without being maudlin.
Sweat may well be the best American play set in a bar since The Iceman Cometh. Back then, O’Neill established the local pub as a place where dreams come to die. Lynn Nottage is of similar mind, but her focus is on a specific dream, the one involving the land of opportunity and its inherent promises.
Plenty of compelling visuals, and a mostly powerful performance by its lead. Come for the history and morality lessons, stay for the terrifying puppets.
Imagine a bizarro world version of A Christmas Carol with Scrooge replaced by a financially and morally bankrupt old woman, haunted by the sins of her past.
For Jerry Herman fans, a rare chance to appreciate a mid-career work. But it is easy to understand how Dear World ran for 4 months on Broadway and was not seen in New York again, until now.
In this spitfire revival of Sunset Boulevard, Glenn Close has mastered the art of bringing controlled madness to her method.
Never a dull moment. But, while there is humor, there is disappointingly little pathos. In a play about moving out and moving on, few of the characters are very moving at all.
By Stanford Friedman For the second year in a row, BroadwayCon coincided with a severe storm. But this time, instead of a blizzard, a fierce political wind raged through the city, with thousands taking to the streets in protest. At the Javitz Center, in keeping with theater tradition, the show went on. And what a show it was. Sunday morning brought out a dozen of the industry’s most talented artists. First, there were the...