Michael Dale - Page 2

Notes on Rich Roy's autobiographical A White Man's Guide To Rikers Island, Sam Chanse's 'what you are now' and a Hamilton-related theatre landmark on St. Marks Place.

Debate: Baldwin vs Buckley is an extraordinary recreation of A 1965 televised debate, Glass Town is a fun rock concert with a Bronte band, The Life gets reworked for Encores! and an O'Neill drama involving Andrew Jackson may be seen differently today.

This week I saw productions of two decades-old musicals, each written by one of theatre's great composer/lyricists, which, in their original productions, ran a combined total of nine performances on Broadway.

An audience participation panel discussion show that tours one-nighters around the country debates how to get dating right.

A recreation of Eartha Kitt's brief speech at a White House event is the thrilling dramatic centerpiece of playwright/performer Dierdra McDowell's excellent solo play, Down To Eartha.

Notes on Company, The 2022 FRIGID Festival and A Class Act.

New York City Ballet brings back Slaughter On Tenth Avenue, the Louis Armstrong House Museum reopens in Queens and a hat tip to the guy who keeps MJ grounded.

Jaime Sunwoo on the significance of SPAM in Asian American culture and Taylor Mac and Matt Ray throw the hottest jazz funeral in town.

Like Sweeney Todd's right arm, I haven't thought of the Theatre District as being complete again until the reopening of that historic watering hole and bistro on 44th Street, Sardi's.

Jonathan Larson's posthumous success may be a unique story, but tick, tick... Boom! deals with a universal truth most artists must deal with sometime in their lives.

How my exposure to the diversity of New York theatre changed once I started going to Off-Off-Broadway more frequently than to Broadway.

Sharing views not only on the current Broadway and Off-Broadway scenes, but offering an appreciative spotlight to Off-Off Broadway artists and other lesser-known entertainers who are just as important in making New York the nation's live performing arts capital. To encourage rather than critique.

The first time I saw John Cullum live on stage his fingers were clutched to a window frame of designer Robin Wagner's art deco luxury liner, playing the maniacally flamboyant theatre producer Oscar Jaffe attempting to board a moving train in his Tony-winning turn in ON THE TWENTIETH CENTURY.

The visuals may be left to the listener's imagination in The Public Theater's new audio play, but what lands on the ear takes Joseph Papp's revolutionary concept a bit further.

Even if Americans weren't recently subjected to the horror of violent deaths and the attempted murder of elected officials inside the U.S. Capitol Building, the issue of representatives desiring the right to carry firearms in congress would be enough to bring new relevance to William Shakespeare's drama of insurrection and its consequences, JULIUS CAESAR.

The Seeing Place Theater offers a futuristic glimpse of artists adapting to a changed culture in Liz Duffy Adams’ 2004 absurdity, DOG ACT.

As virtuosic Broadway stars go, Jefferson Mays be the provider of the most congenially-natured performances of his era.

'I am not a Beckett scholar,' Bill Irwin advises viewers at the outset. 'Mine is an actor's relationship to this language. By which I mean the deep knowledge that comes from committing words to memory, and speaking them to audiences.'

For the first time in twelve years, Americans were being served by a president who fully supported The Supreme Court's Roe v. Wade decision when the pseudonymed playwright Jane Martin's 1994 Pulitzer finalist KEELY AND DU premiered.

While not exactly a moment of déjà vu, I did feel a sense of the familiar while listening to director Saheem Ali's new podcast production of Anne Washburn's provocative play of Trump-era liberal ideology, SHIPWRECK, subtitled 'a History Play about 2017'. It was followed almost immediately by an internal debate as to whether or not it was okay to mention in in this review.