And Away We Go

Terrence McNally's latest play — written for the Pearl company — hopscotches from one theatrical milestone to another. Click here for my review.

Regular Singing

I went up and down with Richard Nelson's Apple family tetralogy, and mostly liked Ep. 3, Sorry. But  I found No. 4, Regular Singing, mostly dull with an annoying icing of self-involved dourness. Click here for my review.

No Man's Land + Waiting for Godot

I know the hip factor is lesser by a factor of a thousand, but I liked the Bill Irwin/Nathan Lane Godot more than the current Ian McKellen/Patrick Stewart one. While everybody says Godot is the better of the two shows the latter are doing in rep, I preferred No Man's Land. My twofer review's here.

One Night…

Charles Fuller (A Soldier's Play) returns with another tale of dysfunction in the armed forces. This one's a lot less effective though. My review's here.

The Commons of Pensacola

I'm flabbergasted by MTC's decision to put up Amanda Peet's feeble debut as a playwright. Not just that, but Lynne Meadow herself directed -- talk about an endorsement -- and Sarah Jessica Parker and Blythe Danner signed on. Mystifying. Thataway for my review.

Macbeth

Ethan Hawke tackles Macbeth, and it's a big disappointment. Too bad -- unlike many, I was rooting for him. Click here for my review.

Small Engine Repair

John Pollono's fast and tawdry thriller ends with a hilariously satisfying scene straight out of a Tarantino movie. Another B-movie thing Pollono got right is speed: The show clocks in at 75 minutes. Click here for my review.

A Gentleman's Guide to Love & Murder

This murder-mystery musical may sway Anglophiles, but I was left largely unmoved by its antics. My review's here.

When film directors make commercials

It was fun rounding up a bunch of ads from around the world — ok, mostly French and Japanese — directed by famous, often unlikely movie directors. Click here for the gallery.

Little Miss Sunshine

I so wanted to love this show! But William Finn and James Lapine took a tumble, and a couple of miscast parts don't help. My review's here.

A Bed and a Chair

More Sondheim! Frankly, I'm not sure the world needed the new revue A Bed and a Chair, but at least it gave us the opportunity to hear Bernadette Peters take on "Broadway Baby" and "The Ladies Who Lunch." Click here for my review.

700 Sundays

I can't say I was particularly looking forward to Billy Crystal's solo 700 Sundays, but he really got me -- the first act is as good as this type of show gets. Click here for my review.

Richard III + Twelfth Night

Mark Rylance leads an all-male cast in Richard III and Twelfth Night in rep. The latter's a better show but you may want to see both for a rare repertory experience on Broadway. My twofer review's here.

The Jacksonian

Beth Henley makes a return to form — though not her usual one — with this lurid Southern tale halfway between Jim Thompson and David Lynch. Click here for my review.

How to Make Friends and Then Kill Them

Halley Feiffer wrote but doesn't star in this pitch-black comedy with a taste for the grotesque. Doesn't add up to all that much, but it's appealingly odd. My review's here.

Disaster!

New jukebox musical Disaster! pays tribute to those cheeseball Hollywood movies with upside-down ships, killer bees and sharks. Of course there's also a nun. Click here for my review of this great little nugget of a show.

Domesticated

Bruce Norris tackles on the war of the sexes in Domesticated. If only the show wasn't so skewed against women. Funny how every single one of them is awful while the lone male characters is pathetic at worst. And yet...it's a worthy ride. Click here for my review.

A Midsummer Night's Dream

Julie Taymor waltzes back the way she knows how: with stage magic. Click here for more on her new eye-popping spectacle.

After Midnight

The creators of the revue After Midnight wisely didn't try to wrap the numbers around a plot: It's just one song after the other, and a great big band onstage. My review of this new Broadway delight is here.