The acting in this family-saga ensemble brings to life what could have been a mediocre play.

The 1965 musical has been retooled into something with currency for today.

Someone needs to tell Ethan Coen to stop writing awful one-act plays.

Molly Smith Metzler’s vacuous comedy-drama misses nearly every target.

The Man Who Came to Dinner remains the most masterfully chaotic ensemble comedies, even if it doesn't get quite the serving it deserves here.

Having moved out of the basement gym where the Off-Broadway production was staged, this poppy musical has lost some of its charm.

Director Michael Mayer has radically reconceived this 1965 musical so that it's now even odder.

Gory as it is, Shakespeare’s thriller should be produced more often.

All the sense and self-control in their bodies can't keep two firebrands from their bipolar magnetization.