Michael Dale - Page 151

If it's possible to find yourself enjoying a play while simultaneously feeling rather under whelmed by the whole thing, then The Roundabout Theatre Company's revival of George Bernard Shaw's dark comedy is perhaps the best example of sorry/grateful to be found on Broadway these days.

If there's a funnier, more enchanting or better-acted romantic comedy playing in New York than Kathleen Clark's story of septuagenarians faling in love, I sure can't name it.

Douglas Carter Beane's hilarious spoof of nighttime soaps combines bitchy drama, contemporary politics and the net-less tightrope walking excitement of intentionally under-rehearsed theatre

After all the controversy, the accusations of censorship and the petitions and letters of protest, Britain's Royal Court Theatre production has finally made it to New York. Sadly, the off-stage drama far exceeds anything taking place on stage at the Minetta Lane Theatre

For all the laughter and hilarity to be savored in this ventriloquism show, the most memorable moment to take home with you is a quiet, heart-tugging scene which has been played out hundreds of times, but perhaps never so lovingly

Although Muriel Spark's novel could certainly make for a fine play, Jay Presson Allen's stage adaptation is better served when treated as a star vehicle

Pity the unfortunate theatre critic who must review a perfectly good production of an extraordinarily popular musical that he's never really cared for.

MCC brings back the original actors and director for their 10 Anniversary production of Russell Lees' vision of Richard Nixon and Henry Kissinger

Christopher Curtis' extremely promising musical explores the life and career of the 20th Century's first world famous person

Start with the gentle humor and imagination of a James Thurber, combine it with a mixture of hip and cute reminiscent of Charles Schulz and propel it with the humanistic passion of Frank Capra and you'll find yourself in the crazy and charming world of this off-the-wall musical

St. John Ervine's drama about a poor Irish family premiered on Broadway over 75 years ago, but The Mint Theater brings a unique freshness and vitality in their dedication to the past

Richard Vetere's play lacks wit or any kind of empathy, but it might have stood a chance if Evan Bergman's blocking weren't so static

Bruce Norris' wonderfully vicious and somewhat disturbing dark comedy targets smart, educated and supposedly open-minded ladder-climbers whose left-wing activism is generally defined by watching PBS

Lost Musicals revives Cole Porter and Herbert Fields' witty escapist fluff about Americans in Paris

Given a fine and well-sung premiere production by The York Theatre, this new musical about the widowed first lady is by turns engaging in its successes and frustrating in its failures

Eve Ensler's gripping and provocative two-character play deals with the psychological aftermath of performing cruel acts in the service of one's country

Camille O'Sullivan's American cabaret debut certainly shows talent, confidence, playfulness and a desire to challenge her audience, but working without a stage director or music director, the evening is repetitive, clichéd and lacking in both originality and clarity

Awkwardly teetering between unfunny romantic comedy and unfunny sex farce, <i>WASPs In Bed</i> isn't exactly romantic or sexy either.

Usher flashes a great smile, has a sweet singing voice and dances nicely, but he's never Billy Flynn

Martin Short stars in a giddy, manic carnival ride, sharing the stage with a rowdy team of clowns who sing, dance, impersonate and spoof their way through 90 minutes of fast, loud and funny