Like Sarah Ruhl's last play, Eurydice, her latest Dead Man's Cell Phone also involves interaction between the living and the dead-only it's less magical and less mystical.
Broadway By The Year spotlighted 1947-and it was a glorious year, it was. Just think Brigadoon or Finian's Rainbow, for starters.
Passing Strange is an original, high-energy show, packed with talented performers.
A towering production of Macbeth. Hail Patrick Stewart, hail Rupert Goold, hail Kate Fleetwood.
This revival of Sunday in the Park with George is gripping, gorgeous and gratifying, containing some of the smartest writing in musical theater history.
The Little Mermaid is one all wet fishy tale. Dare we say, it sinks like a stone before it even gets out of the harbor.
This Macbeth is overlong, but Patrick Stewart and Kate Fleetwood give compelling performances as the Thane and his Lady
Electroshock treatment, bipolar disorder...not your average subjects for a musical. But Next to Normal is seldom depressing. In fact, it's a daring, mostly successful musical.
The Slug Bearers of Kayrol Island is one of the quirkiest, most offbeat shows in years. The title may be offputting , but the animated projections are cool.
This revival of Beth Henley's Pulitzer -prize winning comedy has one problem. It's not funny-and that's because it begins where it should end. Nonetheless, it's still a serviceable vehicle under Kathleen Turner's direction.