Detroit

Lisa D'Amour's Detroit is so so good! And I'm not saying that just because it ends with an awesome bacchanal set to blaring hip-hop. See for yourself -- if you can get a ticket. In the meantime, my review's here.

Crossing the Line

Click here for my piece about the Crossing the Line festival, with a special focus on Brian Rogers' Hot Box, which I caught on Friday.

Einstein on the Beach

Einstein on the Beach is just a bit more common than Halley's Comet -- the last NY revival was in 1992. So I'm glad to have been at BAM on Sunday for the latest sighting. My review's here.

Fly Me to the Moon

Marie Jones' sweet and sour comedy Fly Me to the Moon opens at 59E59, and my review's in today's paper.

Fall preview: the musicals

When it comes to new musicals on Broadway, this fall season is a stinker -- so much so that I find myself looking forward to the revival of Annie. Oy! Thataway for my preview in the Post.

Mary Broome

The Mint Theater picked a tricky play with Allan Monkhouse's Mary Broome, and its revival comes up short. Full explanation thataway.

Chaplin

Summarizing the big plot points of a decades-long career in a biomusical isn't necessarily a good idea, as the new Broadway show Chaplin demonstrates. My review's here.

The Train Driver

Signagture's Athol Fugard season ends with a whimper, aka The Train Driver. My review's here.

Forbidden Broadway

I have to admit, I'm a bit surprised that my colleagues seem to think the new Forbidden Broadway is mean. If only! My lukewarm review is here.

Harrison, TX

A belated link to my review of Harrison, TX, an anthology of three one-act plays by Horton Foote. He works the short format particularly well, and that's not as easy as you'd think.

Tail! Spin! preview

Unfortunately I'll be on vacation and won't be able to review the new play Tail! Spin! So I wrote a preview instead.

Richard III

The lean, efficient production of Richard III at the Public is so gripping that it made a young woman in my row gasp loudly a couple of times. Cool! My review's thataway.

Summer Shorts Series B

Neil LaBute's piece in Summer Shorts B is such a fun little spitball! Meanwhile Paul Rudnick's offering isn't up to his high standards, but the middle musical led me to a composer of promise, Sam Davis. More here.

Into the Woods

Into the Woods isn't out of the woods at the Delacorte. Will anybody ever solve this show? Is it even solvable? My review's here.

Bullet for Adolf

Woody Harrelson's playwrighting and directing debut, Bullet for Adolf is the kind of bad show I love because you never know where it's going. I'd take it over any of those snoozy well-crafted plays that litter off-Broadway. Full review here.

My Mind Is Like an Open Meadow

Erin Leddy's solo show just opened at 59E59. A small, unprepossessing summer gem. Full review here.

The Last Smoker in America

The Last Smoker in America is bad — but not in a fun, demented way like, say, In Masks Outrageous and Austere. No, this is more the painfully bad type. Full review here.

In Paris

Alas, it's not me who's In Paris, but Mikhail Baryshnikov, via the Lincoln Center Festival. Full review here.

Summer Shorts Series A

A one-act play can feel very long indeed, as demonstrated by the new anthology Summer Shorts Series A. Click here for my review.

Mike Tyson: Undisputed Truth

I never thought I'd see the day -- or rather, the night -- when I'd spend two hours in a Broadway theater watching Mike Tyson talk about his life. And yet. Thataway for my review.

Bring It On

Boo, Bring It On -- The Musical has very little to do with the movie of the same name, other than them both being about cheerleading. And I so wanted to love this show! Oh well, it's still ok. Full review here.

New Girl in Town

Bob Merrill's 1957 musical New Girl in Town gets revived at Irish Rep. Thataway for my review.

Warrior Class

I like that Second Stage is producing young playwrights at its uptown location, but the returns have been disappointing since Leslye Headland's Bachelorette exactly two years ago. Warrior Class is yet another not too bad, not too good offering. Full review here.

Uncle Vanya

Here it is again, Uncle Vanya! I enjoyed the Sydney Theatre Company's production even more than when I saw it last year, at the Kennedy Center. Someone give Cate Blanchett and Hugo Weaving a rom-com, stat! Full review here.

Hand Stories

I was pretty excited to see a hand-puppet show, as opposed to a bunraku one, but Hand Stories deflated me pretty quick. Why it's at the Lincoln Center Festival is beyond me. Full review thataway.

Re-Animator: The Musical

Because musicals based on The Toxic Avenger and Evil Dead, weren't enough, here comes one based on Re-Animator. B-grade horror movies live! Of course that's a particularly apt sentence when it comes to Re-Animator. I got tired of the splatter shtick after a while though. Full review here.

Dogfight

The musical adaptation of Nancy Savoca's movie hits Second Stage. Of course I was there.

Fela! redux

Fela! comes back for a limited summer engagement. The first act still kicks major butt; the second is still a mess. More here.

Nymph Errant

The obscure Cole Porter tuner Nymph Errant gets the revival nobody had been clamoring for. Thataway for my review.

DruidMurphy

In case you were wondering what I was up to this past Sunday: In the morning I wrote my review of Alan Cumming's take on Macbeth; then at 1pm I rushed off to John Jay for nine and a half hours of DruidMurphy (review here). Granted, there was a 90-minute dinner break, but that still leaves quite a bit of theater.

Macbeth

Not just any Macbeth, but one with Alan Cumming in all the parts — he plays a mentally ill man who retells the Scottish play inside his loony-bin room. I'm not entirely sold.

Terminator Too -- Judgment Play

After Point Break Live! get ready for Terminator Too -- Judgment Play. That it's staged not in a theater but at Santos Party House should give you an indication of the overall vibe. My review's here.

Why do people hate 3C so much?

David Adjmi's 3C has turned out to be quite a divisive little show. I asked him, director Jackson Gay, and stars Anna Chlumsky and Hannah Cabell what they thought about the hoopla. Click here for my feature in today's paper.

Triassic Parq

Unsurprisingly, Triassic Parq -- The Musical originated at the Fringe Festival. Full review of the remounting here.

Broadway revisits

I returned to Memphis, Anything Goes and Sister Act to check out the new leads. Click here for the verdict.

7th Monarch

Middling thriller 7th Monarch is Rain Man with a dash of The Miracle Worker. Full review here.

As You Like It

Shakespeare in the Park's As You Like It is so, so fun. Among other delights, it confirms that Lily Rabe is one of our most vibrant actresses. I realize she has to pay the bills and all, but I hope she doesn't land a time-consuming TV gig anytime soon. My review's here.

3C

I loved David Adjmi's 3C, at the Rattlestick, but I have a sneaking suspicion I'm going to be in the minority on that one. My review's here.

The Bad and the Better

The Amoralists strike back with The Bad and the Better. Sucker punch? My review's here.

Love Goes to Press

Until a couple of months ago, I had no idea Martha Gellhorn had co-written a play with fellow war correspondent Virginia Cowles. Love Goes to Press played five performances on Broadway in 1947, and now it's back thanks to the Mint company -- who else? My review's here.

Uncle Vanya

Here comes yet another Uncle Vanya, this time from adapter Annie Baker and director Sam Gold. And what a disappointment it is.

Harvey

It's so uncool it's…still uncool. Yes, it's the revival of Harvey and it's not bad entertainment for the whole family. Review here.

Tiny Dynamite

Rising screenwriter Abi Morgan (The Iron Lady, Shame) makes her full-length off-Broadway debut with Tiny Dynamite. It's not quite there yet, but promising — after all, it's from 2001. Full review here.

We Play for the Gods

The Women's Project gets ambitious, gathering a small army of playwrights and directors for We Play for the Gods. Unsurprisingly, the show lacks focus. Click here for my review.

Rapture, Blister, Burn

Gina Gionfriddo's latest, Rapture, Blister, Burn, is as good as Becky Shaw, albeit in a very different way. And it's the rare show that improves after intermission. Full review here.

Storefront Church

John Patrick Shanley's latest, Storefront Church, is shambolic and likable. My full review's here.

Medieval Play

It's not often I feel bad for actors, but Josh Hamilton and Halley Feiffer have to do such a drecky sex scene in Medieval Play that I wanted to crawl under a rock. The rest of Kenneth Lonergan's latest isn't much better. My review is here.

Food and Fadwa

There's a thin line between well-meaning and corny, and Food and Fadwa crosses it repeatedly at NY Theatre Workshop. Full review here.

The Bad Guys

There's a lot of guys in Alena Smith's The Bad Guys -- in fact, there's only guys -- and they all land somewhere on the spectrum of badness. Full review of this promising new play (yes, another one) here.

Chimichangas and Zoloft

Yes, there are jokes about both in Chimichangas and Zoloft, a new play at Atlantic 2. I've never taken Zoloft and am not too keen on chimichangas, those fried Mexican-American gutbombs, but the play shows promise. Full review here.

Potted Potter

If you're 12 and have read all of the Harry Potter books, Potted Potter is the show for you. Adults with sophisticated theatrical tastes and parents with little interest in wizards can either ignore the show entirely or wait for their brood at the diner next door. My review's here.

Jukebox Jackie

Dedicated to the life and oeuvre of Jackie Curtis, Scott Wittman's new show Jukebox Jackie is a total trip. That it's playing at La MaMa, where Curtis created a lot of his stuff way back when, is the cherry on top. Click here for my review.

The Common Pursuit

I was ready to completely dismiss The Common Pursuit at the end of the first act, but the second one navigated some interestingly troubled waters. (Click here for my review.)
Incidentally, can we stop with the paper-thin female characters already? Don't insult us with that crap: If you're only interested in the male experience, go the John Woo way and dispense with women entirely.

My Children! My Africa!

Does Athol Fugard's My Children! My Africa get away with being dramatically inert because of its subject matter? Discuss. In the meantime, here's my review.

February House

A musical based on the house WH Auden, Carson MCullers, Benjamin Britten and Gypsy Rose Lee shared in 1940? Great idea! But what do you do once you have all these people in a room? That's where the show is stumped. My review’s here.

Old Jews Telling Jokes

You may say I'm not the targeted audience for a show titled Old Jews Telling Jokes, but that'd be a mistake: I'm a target for any funny show. I just wish this one was better.

Title and Deed

Will Eno's latest, Title and Deed, is an exercise in pointlessness. Full review here.

Cock

Not only is Mike Bartlett's play Cock wonderfully written, but James Macdonald's staging is tops and the performances never less than fully compelling. Well worth checking out, as I explain in my review.

Pool (No Water)

The New York premiere of Mark Ravenhill's Pool (No Water) isn't quite as daring as the play requires, but it's an encouraging production from the young One Year Lease company. My review's here.

Gentlemen Prefer Blondes

Last week's Encores! production of Gentlemen Prefer Blondes was totally delish (click here for my review). I was amused by the critics who seemed surprised that Megan Hilty can sing and be funny. Didn't you guys see 9 to 5? All of her skills were obvious in that show.

An Early History of Fire

Oops, should have linked to this review earlier! David Hare's An Early History of Fire is currently at the Acorn in a New Group production. I didn't care much for it.

A Midsummer Night's Dream

The latest take on A Midsummer Night's Dream often look smashing, but it's so wildly uneven as to try one's patience. My full review's here.

Don't Dress for Dinner

Of course I'm clamoring for more French farce on New York stages, but Don't Dress for Dinner isn't what I have in mind — at least not in the production currently at the American Airlines Theatre. Full review here.

Leap of Faith

Maybe it was a case of lowered expectations, but I enjoyed Leap of Faith. Something tells me my positive review will be in the minority, but so be it.

The Columnist

David Auburn's first big play since Proof is The Columnist, and it's a snooze. Recommended only if you just love shows where someone uses a typewriter and a cigarette-holder. My review is here.

Nice Work If You Can Get It

Kathleen Marshall basically delivers Anything Goes, Part 2 with this Gershwin jukebox. It's fun, if you can block out Matthew Broderick's performance, or lack thereof. Full review here.

Ghost the Musical

I almost enjoyed Ghost the Musical on a car-crash level. But the bottom line is, this is a pretty bad show.

The Lyons redux

Linda Lavin & Co. move The Lyons to Broadway. I felt the play read broader than at the Vineyard, but Lavin's still well worth the trip.

A Streetcar Named Desire

I like a lot of what Nicole Ari Parker does in A Streetcar Named Desire. Blair Underwood, not so much. Full review of this Tennessee Williams revival here.

Clybourne Park redux

Two years after its run at Playwrights Horizons, Clybourne Park transfers to Broadway with its cast and bite intact. Good stuff.

Three Sisters

Lev Dodin and Maly Drama Theatre bring a particularly grim Three Sisters to BAM. You don't need to fasten your seatbelts, this ride is going to be slow. Full review here.

One Man, Two Guvnors

As a big fan of farce — duh, I'm French! — I had a great time at One Man, Two Guvnors. Had the second act held up the pace, it would have been a four-star review for sure. Still, a very positive one in today's paper.

Ionescopade

An old review of the Ionescopade, a "musical vaudeville" based on Eugene Ionesco texts — oh blogger, why don't I ever check your drafts folder?

In Masks Outrageous and Austere

Only one playwright could have come up with In Masks Outrageous and Austere, and that's Tennessee Williams. It's a compendium of his themes and obsessions, minus the need to make sense. Which is pretty awesome if you're into Williams. My review's here.

Peter and the Starcatcher

Peter and the Starcatcher transfers to Broadway. And I still like it.

A Slow Air

David Harrower (Blackbird) returns with A Slow Air, which he also directed. Full review's here.

Massacre (Sing to Your Children)

The least I can say about José Rivera's "Massacre (Sing to Your Children)" is that it's not your regular off-Broadway drama. Which doesn't mean it's good, but it's certainly trying for something different. My review's here.

Magic/Bird

Magic/Bird is about just that: Magic Johnson and Larry Bird. And the show's not bad for Broadway hoop dreams.

Federer versus Murray

Those who know me are aware of my all-consuming passion for tennis. Although I prefer playing it to watching it, I was looking forward to Federer versus Murray. Alas, tennis plays second fiddle to a grief drama. My review's here.

Evita

What can I say? I loved the revival of Evita that just hit Broadway.

End of the Rainbow

I like Judy Garland but I'm far from obsessed with her. I don't know if this made me more or less inclined to enjoy Tracie Bennett's performance in End of the Rainbow -- but I enjoyed it I did, as outré as it is. Details here.

The Taming of the Shrew

I have to admit, I wasn't too keen on Theatre for a New Audience's latest batch of Shakespeare productions, but this new one hits the spot -- which is especially sweet since The Taming of the Shrew is so easy to mess up. Read on for my review.

The Best Man

Gore Vidal's 1960 play The Best Man returns to Broadway, in sync with yet another presidential cycle. Lots of bold names in this one, and among them I thought the women fared best. Full review here.

Pipe Dream

The title of Rodgers and Hammerstein's 1955 musical Pipe Dream is a rare case of a literal metaphor: The heroine literally moves into a boiler pipe. I won't forget the sight of Will Chase crawling out of a pipe to visit Laura Osnes. Still, this is an enjoyable entry in the Encores! canon. My review's here.

Newsies

Disney's 1992 movie musical Newsies has made the transfer to the stage. Fans rejoice! My review of the new Broadway show can be found here.

Elephant Room

Trust Steve Cuiffo, Trey Lyford and Geoff Sobelle to put a fun twist on the hoary magic show. It's called Elephant Room, it's at St. Ann's Warehouse, and I liked it.

Now. Here. This.

I'd liked [title of show] but Now. Here. This., which is basically more of the same, really annoyed me. There's a thin line between introspective and narcissistic. Full review here.

A brief look ahead at the spring's offerings

In today's Post, I list some of the shows I'm looking forward to this spring.

Regrets

MTC misfires again with Regrets, a regrettable new play set in 1954 Nevada. Why? Why? Why? My full review's here.

Tis Pity She's a Whore

BAM brings us a rocking take on John Ford's 'Tis Pity She's a Whore. Fans of sex and gore, head to Brooklyn, stat! Full review here.

Jesus Christ Superstar

Des McAnuff's revival of Jesus Christ Superstar opened last night. It's not all great but I loved that it's really loud. Click here for my review.

The Big Meal

My review of Dan LeFranc's The Big Meal is out in today's paper.

Once redux

Once has reopened on Broadway, and I loved it just as much the second time around.

The Voice judges

I had a lot of fun writing about the four judges on The Voice for the Post's TV section this weekend. Check it out here.

The Maids

The reliably stylish Red Bull company brings back The Maids, and I say yay!

Death of a Salesman

Attention must be paid -- but not to the new Broadway revival of Death of a Salesman. My full review's here.

An Iliad

Oops, forgot to link up to my review of An Iliad, starring Denis O'Hare and Stephen Spinella on alternate nights.

The Lady from Dubuque

David Esbjornson makes a good case for Edward Albee's The Lady from Dubuque, a flop back in 1980 (click here for my review). And yes, it's yet another show currently playing the Signature Center.

Carrie

I'm in the camp that thinks that the musical Carrie can work on stage, but it needs a visionary director. Stafford Arima, who handles the new revival, isn't that director — though admittedly the show itself, as revised, has problems. Sigh. My full review's here.

Rated P for Parenthood

A new musical revue about parenting, Rated P for Parenthood, just opened at the Westside Theatre, and my review's here.