Actor-turned- director Alan Rickman's acutely observed production of Strindberg's Creditors stuns an audience with its unvarnished view of human venality.
This revival of Harley Granville Barker's Waste wants for precisely nothing, especially from the second act onward. It's scintillating theater as only the British can do it.
A road movie with two super stars turned into a play-without said stars. Impossible! Yet Rain Man somehow works. Credit the compelling nature of the material and the central performances of Josh Hartnett and Adam Godley.
This is a brilliant revival of Chekhov's early play. Michael Grandage has assembled an exceptional cast-did anyone say Kenneth Branagh- and adapter Tom Stoppard has worked his magic, too.
In case one forgot, there's more to Lerner and Loewe than just My Fair Lady and Brigadoon. Take Gigi , for example-here presented in a well-done production at the Open Air.
The pros and cons of feminism are given a too thorough going over in Joanna Murray-Smith's The Female of the Species. There's a strong whiff of desperation as the play plods along.
Rupert Goold has come up witha brilliant take on Luigi Pirandello's Six Characters in Search of an Author-true to the spirit of what the Italian master was attempting 87 years ago.
The Revengers Tragedy ( Thomas Middleton's gory Jacobean story) comes across as an extravagantly over-staged production. It operates on the principle that nothing succeeds like excess.
This production of The Music Man allows an audience to get the full flavor of the Meredith Wilson tuner-and that's pretty good fixings.
Marguerite is a real mess. It's one thing to remove the comedy from musical-comedy. But the creative team hasn't found anything to replace it with.