Four Gay Men Ponder Their Cosmic Attachment to Barbra Streisand
A chat with the cast and crew of 1812’s Buyer & Cellar.
In Carousel at the Media Theatre, Life Lived Fully in a One-Horse Town
This production is small-scale, but often imaginative and satisfying.
In Arden Theatre’s Cabaret—Garter Belts, Nipples, and Oh, Yes… Nazis
The emphasis on louche sexual openness, meant to shock the audience, instead makes this production feel less dangerous.
O Festival Diary—Day V: The Wake World Is O17’s Glamorous Swan Song
David Hertzberg’s opera is dramatically pretentious, musically gorgeous, and very much An Event.
THEATER REVIEW: Simpatico at McCarter Uneasily Straddles the American Dream
In Red Orchid’s dazzlingly odd production, the great Sam Shepard lives on.
O Festival Diary—Day II: In O17’s Die Zauberflöte, the Magic is in the Technology
This imaginative, animated staging dazzles in some ways and comes up short in others.
O Festival Diary—Day I: Elizabeth Cree
This witty collage of theatrical ideas, superbly staged and performed, sets a high standard.
THEATER REVIEW: In Lantern Theater’s Red Velvet, An Othello Too Real For His Audience
Lolita Chakrabarti’s mixed bag of a play finds greatness when Forrest McClendon takes the stage.
Farewell to the Great Barbara Cook
On Broadway and in the larger sphere of American popular song, Cook is the gold standard.
HD-CAST REVIEW: Is There Such a Thing as Day in the National Theatre’s Angels in America?
Despite some impressive elements, Marianne Elliott’s production is mired in stygian gloom.
reclining standards 