In the second act of Half Time, Donna McKechnie delivers what’s basically a modern-day version of her Tony Award-winning solo performance of “The Music and the Mirror”, right on down to the mirrors serving as her backdrop.
In the second act of Half Time, Donna McKechnie delivers what’s basically a modern-day version of her Tony Award-winning solo performance of “The Music and the Mirror”, right on down to the mirrors serving as her backdrop.
Jim Parsons is finally turning into a good actor!
Continue reading “Parsing the Career of Jim Parsons (Briefly)”
On its surface, Elizabeth Swados’ Runaways seems like the sort of musical that would be a perfect fit for an Encores!-style concert presentation.
Liza Birkenmeier’s The Hollower exemplifies a new playwright in desperate need of a dramaturg to focus her wild and wildly-dissonant ideas into a cohesive whole.
Dear Royalty of the Stage and Screen:
Continue reading “LONG DAY’S JOURNEY INTO the Same Boring Revivals”
Click here to read my review of Alan Ayckbourn’s A Brief History of Women, part of 59E59’s Brits Off Broadway festival.
Pro: Unlike a lot of other stars who only agree to appear in the same old classics, Matthew Broderick actually uses his commercial clout to sell tickets to more unconventional material.
I don’t feel comfortable reviewing the Abingdon Theatre Company’s production of Philip Dawkins’ The Gentleman Caller because one of my friends holds up half of this new two-hander.
The Birds immediately impresses with a uniform style that’s anything but uniform, pulling off the tricky combination of quirky esotericism.