Michael Dale - Page 131

Martha Clarke's entrancing dance/theatre piece is based on Colette's 1920 novella of passion and romance between a young man and an older woman.

Who knew Burt Bacharach was so emo?

Austin McCormick's Company XIV riffs on a holiday favorite with a sumptuously sensual blend of erotic dance, jazzy vocals and stunning baroque fashions filtered through a neo-burlesque sensibility.

While more Americans would be familiar with Bart's adaptation of Charles Dickens' Oliver Twist from its Oscar-winning film version, the stage show is a craftier invention.

What started as a disposable play has concluded as one of the great American theatre experiences of this young century.

Ruben Santiago-Hudson fills in for the playwright in a captivating evening of remembrances August Wilson created for himself.

Stewart, McKellen, Hensley and Crudup make an exemplary ensemble in contrasting plays that inspire queries of 'What does it mean?'

William Finn and James Lapine's sluggish new musical only occasionally hints at the brilliance of its creators.

Blythe Danner and Sarah Jessica Parker might trick you into thinking Amanda Peet's slight drama has real depth.

John Pollono's terrific new play starts as a genial comedy, but switches gears with a fast and hard entrance into the danger zone.

Bruce Norris' darkly satirical play questions the nature of monogamy.

Half British music hall and half Grand Guignol, the rollicking good musical is a smashing Broadway debut for composer/lyricist Steven Lutvak, bookwriter/lyricist Robert L. Freedman and director Darko Tresnjak.

Winton Marsalis adds jazz arrangements and John Doyle whips up a narrative for an evening that vividly showcases the great dramatist's songs at fresh angles.

Faster than a speeding Les Miserables revival, Billy Crystal's solo performance of family memories returns to Broadway a mere 386 Sundays after its Tony-winning original production gave its regards.

London's Shakespeare's Globe Company eschews modern theatrics and replicates period productions of The Bard's classics.

Beth Henley's Southern Gothic comedy/drama pulls you in with its attention-grabbing characters and atmosphere but then leaves you wondering if it's ever going to take you anywhere.

Fans of muscular, athletic male physiques in action and sexy comical women playing for risque laughs should have a blast.

The new production of Pinter's power play follows the new millennium's trend of easily digestible, surface skimming, star vehicle commercial Broadway revivals of Twentieth Century dramas.

The new song and dance review features an all-star jazz orchestra and a dazzling company saluting the music and styles of Duke Ellington and The Harlem Renaissance.

Director Lear DeBessonet and star Taylor Mac turn Bertolt Brecht's morality parable into a rollicking good time.