Even after significant improvements since its first run, Spidey remains an oversized, overpriced, longer version of what you’d find at a theme park – with bad songs.
While Doug Hughes’ production is more old-fashioned than one would hope, the performances couldn’t be more thrilling.
The Book of Morman dominated the new-musical categories at the Tonys, with War Horse cleaning up in the nonmusical arena.
A long-lost screenplay by Tennessee Williams gets a rare shot at the stage off-Broadway.
Despite some scenes that lead nowhere, this off-Broadway musical packs in athletic choreography, surprisingly good melodies and a whole lot of campy humor.
Though visually intriguing, the heart of this production beats slowly and without the vigor it should have.
This beautifully executed revival boasts a cast and a grandeur that do justice to one of Sondheim’s greatest musicals.
Sweeping elegance, caustic wit and brilliant acting make up the parts of this timeless comedy.
Lynn Nottage takes a different approach with her newest play, still handling serious material, only this time with a bit of farce.
Any production of Follies, even if imperfect, is cause for celebration by Sondheim fanatics.