Michael Dale - Page 153

The Mint Theatre revives Rachel Crothers' 1937 comedy/drama spoofing religious fads

Richard Skipper not only looks and sounds like the original star of <I>Hello, Dolly!</I> and <I>Gentlemen Prefer Blondes</I>, but his knowledgeable and loving portrayal gives us a realistic glimpse at the woman's passion for performing and desire to make a personal connection with the strangers who flocked to see her.

Director David Warren's slick, sexy and fast-moving production can't save this weak script

Tovah Feldshuh gives no less than a star performance in a subtler interpretation that eschews larger than life fireworks and presents the character as an earthier, more realistic representation of late 1800's immigrant survival in America

Neil Labute's very funny and smart new comedy features one terribly clueless groom-to-be arranging reunions with the women he left behind

Mary Pat Gleason's solo play about her battle with bipolar disorder lacks focus

The Roundabout's new production of Kurt Weill and Bertolt Brecht's <I>The Threepenny Opera</I> might well have been the most shocking and innovative theatre event of the 1967-68 Broadway season

Theater Ten Ten's fascinating and innovative presentation of <i>The Mikado</i> has British military men as the 'gentlemen of Japan'

Could Alan Bennett's splendid comedy/drama attract Broadway audiences if the student/teacher relationship depicted involved girls? And if not, what does that say about us?

Perhaps it's too late to just display models of director Bob Crowley's set designs and a few of his costumes in some art gallery with a plaque reading, 'Someday we hope someone will write a good musical utilizing these.'

The New York Festival of Song celebrates showtunes by American composers from musicals that premiered in London

With the spectacular exception of Zeljko Ivanek's supporting performance, this tensionless mounting displays all the depth and character work of a first rehearsal read-through

The most fun you'll ever have watching a group of insanely violent dunderheads displaying a total disregard for human life

Encores!'s latest production helps prove this classic and wholly original musical deserves a higher place in the standard American theatre repertory

With its arch sense of humor and intentional tackiness, this new musical comedy proudly exalts its awkwardness in the most entertaining way imaginable

Choreographer Maurice Hines combines the music of Earth, Wind and Fire with Hans Christian Andersen's <i>The Red Shoes</i>

To write that Allison Fischer stops the show in the middle of Lestat's second act might falsely give the impression that the authors had actually provided a show up until that point

Richard Isen and Erik Haagensen's charming and romantic musical fantasy expores love in a Bronx cemetary

Tina Landau's New Age-y production features music by GrooveLily