Eugene Ionesco's odd, brilliant 65-minute play turns language on its head and relationships inside out, rushing you quickly away from normalcy.

A patchwork of solutions has failed to fix this expensive disaster.

Self-pity and self-destruction never felt so damn good.

Tweaking hasn’t hurt a bit; this spirited revival pumps the life back into a sometimes troubled, still treasured classic.

Although Simon Russell Beale's return to the stage is an exciting thing, the slow build of this story is not.

Charles Busch shows once again that he knows how to write terrific one-liners and uproarious scenes.