Michael Dale - Page 146

Clint Jeffries' romantic drama paints a gritty picture of the lifestyle of Depression era hobos in an exclusively male environment.

One of the great pleasures of watching Tom Wopat singing showtunes, jazz standards and country hits is that he just seems like a really nice guy.

The embryonic lump of coal now inhabiting the Biltmore Theatre has more gem-like qualities to savor and enjoy than the majority of fully gestated musicals now playing around town. It just ain't ready yet, but boy has it got a lot going for it.

Director Melly Still's frequently gorgeous production, and beautiful use of the music of Frederic Handel, overshadows the thin text of this melodrama.

In theory Terrence McNally's new plays is about a doubles team that dominated the game in their youth but really there's nothing to distract us from the fact that we're watching Marian Seldes and Angela Lansbury having a 90 minute chat

The new musical is like a big bowl of sugary butter cream frosting that you can't resist dipping your finger into and licking off every bit of delectable goodness. The only trouble is that after a while you start wondering when the hell you're going to get some cake.

For two and a half glorious hours your only care in the world should be deciding which of the magnificent songs you'll be humming on your way out of the theatre.

The legendary jazz vocalist's open ended engagement is dreamy way to spend the early evening.

First time playwright Peter Morgan's attention-grabbing drama of politics as entertainment is absolutely the best new play I've seen this season.

The Broadway and television star presents a funny and dynamic hour of reminiscences featuring the vivacious vocals of a warm and engaging entertainer,

Christopher Plummer and Brian Dennehy star in a new Broadway production filled with wholesome Americana small-town pageantry.

Paper Mill's robust and rowdy mounting features a dazzling cast, terrific tunes and wildly athletic choreography that'll leave you cheering for more.

Eve Best makes a dazzling Broadway debut in a production that may severely test your belief in opposites attracting.

The new musical is not so much a horribly bad one as it is an exceedingly dull one, despite the efforts of some talented artists who try to create something entertaining out of material that's inescapably bland.

The <i>Taboo</i> star brings his casual charm and exceptional lyric interpreting skills to the intimate Metropolitan Room.

Musicals Tonight! presents a delightful concert of the 1973 version of the 1919 Broadway hit.

Just as everyone deals with the grief of the loss of a loved one in their own personal way, I imagine individual reactions to this stage adaptation of Joan Didion's memoir recounting her own grieving process after the loss of her husband, will be quite varied and, ultimately, personal.

<i>Curtains</i> may not be the kind of show that flies you into musical comedy heaven, but for two hours and forty minutes it cruises securely in the air stream of sock-o.

John Fugelsang's hilarious solo piece is filled with sharp observations about American morals and the way some may interpret the Bible for their own benefit.

The journalistic skills of first-time playwright Bernard Weinraub are put to good use in this drama of a Jewish activist who came to America in 1940 with a mission to convince the United States to help stop the systematic extermination of his people.