Fellowship for Performing Arts’ revival of William Nicholson’s 30-year-old, Tony Award-nominated Shadowlands — directed at a monotonously dull pace by Christa Scott-Reed at Theatre Row — is a period play that persistently plays the artificial period, not its timelessly human truth.

Continue reading “SHADOWLANDS (Fellowship for Performing Arts)” →

At a time when so many curmudgeons complain that every story has already been told on the stage and screen, Birthright remains a surprisingly untapped subject. A group of horny, wealthy adolescents partying their way through an exotic foreign locale? WHERE’S MY TICKET?!

Continue reading “DIASPORA (Gym at Judson)” →

If you’re even remotely tapped into the theatre world, then you’ve already read all the much-deserved praise regarding Lila Neugebauer’s direction of the true-ensemble in Pulitzer Prize finalist Sarah DeLappe’s The Wolves, currently winding down its third (3rd!) production in New York City, this time at Lincoln Center’s off-Broadway Mitzi E. Newhouse Theater. As such, hopefully you won’t fault me for not repeating it here.

Continue reading “THE WOLVES (Lincoln Center)” →

Dirtying up a beloved childhood icon is one of the most reliable comedic formulas available to comic artists; it also tends to be a reliable formula to get sued.

Continue reading “WHO’S HOLIDAY! (Westside Theatre): How the Grinch Stole Seuss!” →

Anna Ziegler earned the privilege of two prominent off-Broadway theatre companies simultaneously staging a duo of her new plays this winter.

Continue reading “Anna Ziegler’s Impressive Double-Edged Sword” →

Magic’s having a theatrical moment.

Continue reading “AT THE ILLUSIONIST’S TABLE (The McKittrick Hotel): Dinner Magic” →