Golden Boy is a handsomely mounted revival by director Bartlett Sher, with the sets and lighting especially effective in rooting us in the late 1930s. But the play itself doesn't get under our skin.

The Rebecca fiasco did not beget many winners, but there was one: Sierra Boggess. This may sound completely bizarre; let me explain.

Despite the trip from the Berkshires barn to the La Jolla Playhouse to New York Theater Workshop and now to Broadway, Peter and the Starcatcher has by all accounts maintained its original feel.

She laughed at a few remarks, but others that led to an uproarious response in most people, caused my mother to roll her eyes in disgust. You see, at the root of it, she was shocked by the somewhat nasty Rita Lyons and she didn't want her to be Jewish. She felt it was somehow an affront.

Thompson has just the right mix of vocal prowess and slapstick ability. Nice Work If You Can Get It is far from the best thing she's ever done but her genius is apparent in her featured role, like a combination of Christine Ebersole and Madeline Kahn.

This look at the legendary Judy Garland during her final comeback tour in London is made with all the affection and love in the world. That doesn't prevent it from being the worst sort of bio-musical.

The Best Man Director Michael Wilson delivers a smooth evening of entertainment, though one that doesn't linger in the mind.

Ethan Lipton is a talented performer and singer with a retro sensibility and a mordantly modern attitude. After seeing his new show/performance at Joe's Pub, I think of him as in the tradition of Van Dyke Parks and I'm a fan.