Michael Dale - Page 127

A revival of the 1991 drag musical beauty contest spoof is a pleasing ninety minutes of good, clean fun.

First-time playwright Robert Boswell and first-time director James Franco deal with the issue of rape and miscommunication.

Randy Newman's take on Goethe's opera is an enjoyable collection of songs with little dramatic context.

Benjamin Scheuer's one-man musical is engaging, heartwarming and thoroughly enjoyable.

While Rent is an explosion of youthful feelings of invincibility, tick, tick… BOOM! is a more introspective work and one of the best musicals to premiere in New York in this century.

Clever projections steal this revival of Jules Romains' satire of European colonialism.

Despite a weak book, director Kenny Leon's daring theatre piece utilizing the lyrics of Tupac Shakur is an exciting dramatic work.

Sarah Treem's engrossing drama is set in a 1972 safe haven for abused women.

Connolly, Mitnick and Rosenstock's fanciful new musical expresses the human need for explanations.

Eugene O'Neill described the period of a woman's heightened sexual desire as a strange interlude. Of course, that was 1923 and he was a guy.

Two terrific stars join a 26-year-old production that's in excellent shape.

Nancy Harris' psychological thriller peaks at it's opening.

Paper Mill mounts a buoyant and polished new production of the 2007 Broadway revival's script.

Jim Dale learned early in life that he loves making people laugh and he still does it so well.

Summer in New York is traditionally a quiet time for Broadway, although the now-previewing Tupac Shakur musical, Holler If Ya Hear Me is certainly creating quite a buzz. Perennials like Shakespeare In The Park and the New York International Fringe Festival always draw mobs of playgoers looking for a great time, but everywhere you turn in this arts-crazy city there's somebody putting on a show.

Vakhtangov State Academic Theatre of Russia's adaptation of Pushkin's verse novel is broadly theatrical.

Marguerite Monnot's music and Andre Popp's orchestrations provide a rare and succulent taste of 1950s Parisian authenticity.

Jan Maxwell is elegant, clever and politically savvy in Anthony Giardina's drama of family politics.

Gerard Alessandrini's latest is particularly hard on the quality of Broadway's current musicals.

New York Theatre Workshop offers an intriguing abstract piece exploring Edgar Allen Poe's mysterious death.