There is cause for celebration -- after a three-year hiatus, Forbidden Broadway is back. One can almost hear strands of Gypsy in the background: "You'll be swell, you'll be great." And it is. Proving you can't keep a good parody down, "Like Jesus and Judy, we're resurrected."
The one female in the stellar cast is Celia Keenan-Bolger. I had the opportunity to chat with her to talk about Peter and the Starcatcher, playing a child once again, marrying fellow actor John Ellison Conlee and the rest of her talented family.
A fish-out-of-water literature professor finds himself among a quartet of curious women in Sam Shepard's frustratingly enigmatic and yet, fascinatingly dense new play Heartless, playing at the Pershing Square Center.
You can't really dislike a show that warms up the audience with the second half of Bruce Springsteen's Born To Run album and there is care and craft on display. When Harlan grapples with characters as deftly as he handles concepts, it will be worth checking out.
Shakespeare's plays are frequently staged in contemporary dress to make them accessible to modern audiences. Pulp Shakespeare keeps period garb and enlists his distinct style of language to cleverly restage Quentin Tarantino's Pulp Fiction.
Mike Birbiglia seems like an easy-going guy, someone who probably has a little trouble with confrontation or sticking up for himself. At least that's how he comes off in Sleepwalk With Me, the film version of his hit one-man show.
The musical National Pastime pays homage to screwball comedies and radio's heyday. Set in 1933 at WZBQ Radio in Baker City, Iowa, it boasts a wacky plot, kooky characters and a charmingly loopy narrative. The curve ball is baseball.
Playwright Horton Foote won an Oscar and a Pulitzer, not to mention sustained acclaim for his work in television, film and, of course, on stage. Nonetheless, his stock will continue to rise, if that's possible.
Based on the Regent's Park production in London, this Into the Woods is extraordinary theater. A treasure trove of psychological insights is neatly gleaned from the interlocking stories of fairy tale characters.
It's only 90 minutes but the show feels padded since the very slight idea powering it goes nowhere and the songs (lyrics by Russell and music by Peter Melnick) can only muster up so many ways to sing the praises of tobacco.
Baby Case is perhaps the most ambitious and potentially most exciting show I've seen at New York Musical Theater Festival this year. It's clearly in the vein of Kander and Ebb, a cynical, smart, unexpected tale that bites off quite a bit -- media frenzy, prejudice, celebrity and much more.
Pianist and singer Peter Cincotti has a new album out but he hasn't saved all the best melodies for Metropolis. This collaboration with his sister Pia proves Cincotti also has a gift for theatrical numbers that move the story along, reveal character and have memorable melodies.
Here is a ready for Off Broadway crowd-pleaser complete with a "splash zone" where audience members can happily don ponchos so the copious amounts of blood and other fluids that are sprayed from the stage can be enjoyed to maximum effect.
Screwball comedy is an art -- and it reached its apex in the Thirties. Cole Porter's 1933 Nymph Errant sets the genre to music. It's a frothy mix of racy innuendo (for the time) and exotic adventure, now at the Clurman Theater on off-Broadway's Theater Row.
"Dogfight" asks theatergoers to trust in three hormonal jarheads who set in motion a rite of passage for themselves on the eve of their deployment to Vietnam, scouring SF to find the ugliest woman imaginable (i.e. a "dog") to bring to a dance.
There's an extraordinary amount of richly conceived theater available currently at some of New Yorks's institutional theaters. To help you sort out what's what, here are some brief thoughts on a trio of recently opened shows.