Monday, February 19, 2018

Review

Review: John Lithgow hosts a fireside chat in ‘Stories By Heart’

John Lithgow is a mighty fine actor, and an all-around decent fellow judging from two hours spent in his company at his solo show,...

Review: In ‘Farinelli and the King,’ music soothes us all

“Music hath charms to soothe a savage breast, to soften rocks, or bend a knotted oak.” So wrote 17th-century playwright William Congreve. With that...

Review: ‘The Children’ is an exquisite look at human life

The room is a very modestly furnished kitchen: mismatched chairs around a table, a miniature refrigerator, a scruffy but cozy-looking armchair, slightly out of...

Review: ‘SpongeBob SquarePants’ is far from ‘a simple sponge’

A new kind of cockeyed optimist has arrived at the Palace Theatre in the form of SpongeBob SquarePants, the indefatigably cheery anthropomorphic hero of...

Review: A heartwarming breeze from ‘Once on This Island’

Continual waves of radiance, warming the blood and stirring the heart, flow forth from the sand-covered stage of the Circle in the Square Theatre,...

Review: ‘The Parisian Woman’ delves into current politics, but with little effect

Sleepy times, right? No drama emanating from our nation’s capital. Barely enough sensation to fill a single page of a broadsheet. Nary a shocking...

Review: ‘Meteor Shower’ misses the mark with its scattered plot

The stars supply most of the fireworks in “Meteor Shower,” a scattershot – and even scatterbrained – comedy of bad manners by Steve Martin...

Review: ‘Latin History for Morons’ gives us footnotes, not a lesson

In spite of significant limitations, it would be churlish not to acknowledge the ambitious aims and wide-ranging scope of “Latin History For Morons”, a...

Review: In ‘The Band’s Visit,’ small moments are made profound

The opening of “The Band’s Visit” at the Ethel Barrymore Theatre, after a triumphant off-Broadway run last spring, is very good news for many...

Review: ‘Junk’ teaches a lesson in high finance

A business degree is not a prerequisite for an appreciation of “Junk,” a new play by Ayad Akhtar about the heady heights and ethical...

Review: ‘M. Butterfly’ never takes flight

That silk kimono hides a scandalous secret in “M. Butterfly,” David Henry Hwang’s 1988 Tony Award-winning drama about the romance between a French diplomat...

Review: Springsteen connects with his sensitive side in Broadway debut

“I’ll handle this myself,” said Bruce Springsteen with a wry smile on Wednesday night at the Walter Kerr Theatre, as his enraptured audience began...

Review: ‘Time and the Conways’ offers a graceful masterclass in time and failed dreams

The ineluctable force that touches all our lives – the day-to-day, year-to-year process by which the present becomes the past, and the future bears...

Review: ‘Prince of Broadway’

What’s the last word I thought I’d ever use to describe a show directed by Harold Prince? Bland. And yet, sadly, that’s the overall effect of...

Review: ‘The Terms of My Surrender’

Michael Moore’s solo show, "The Terms of My Surrender," comes as close to being a campaign rally as anything you are likely to see...

Review: ‘Marvin’s Room’

Calamity comes in Costco-style jumbo packages for the fractured family in “Marvin’s Room,” Scott McPherson’s play about the beleaguering trials and little triumphs collectively known...

Review: ‘1984’

Summer entertainment options do not get more counterintuitive than the Broadway adaptation of George Orwell’s “1984” that opened at the Hudson Theatre on Thursday,...

Review: ‘A Doll’s House, Part 2’

The frenetic Broadway spring comes to a thrilling conclusion with the lightning-bolt opening of Lucas Hnath’s “A Doll’s House, Part 2,” a new play so...

Review: ‘Bandstand’

The boys singing and swinging their hearts out in “Bandstand,” an exuberant new musical set in the days just after World War II, are...

Review: ‘Six Degrees of Separation’

Is it me, or have the follies of rich New Yorkers become less delightfully entertaining than they once were? To wit: Some of the savor...

Review: ‘Anastasia’

“Anastasia,” (“The New Broadway Musical” in this case) is a fictional reimagining of the fate of the youngest daughter of the last Czar of...

Review: ‘Charlie and the Chocolate Factory’

What a peculiar piece of confectionary is the new musical adaptation of Roald Dahl’s “Charlie and the Chocolate Factory,” which opened at the Lunt-Fontanne...

Review: ‘Hello, Dolly!’

A lot of merchandise is for sale in the lobby of the Shubert Theatre, where Bette Midler stars in the highly anticipated, or, really, let’s make...

Review: ‘The Little Foxes’

It doesn’t take a refined intellect to separate the bad characters from the good in Lillian Hellman’s “The Little Foxes.” The bad tend to be...

Review: ‘Indecent’

It is astonishing that the most recent opening at the Cort Theatre, “Indecent,” marks the Broadway debut of its Pulitzer Prize-winning author, Paula Vogel. A...

Review: ‘Groundhog Day’

The producers and creators of “Groundhog Day” must be uncomfortably aware by now that, despite the fantasy at the center of their show, every...

Review: ‘Oslo’

Leaving Lincoln Center on a beautiful spring Sunday afternoon after a performance of “Oslo,” I was surprisingly engulfed by an uneasy disquiet. My reaction,...

Review: ‘War Paint’

You don’t have to go in search of a magnifying glass to discern the active ingredients in the new musical “War Paint,” at the...

Review: ‘Present Laughter’

An unruly cast of stylish denizens has arrived at the St. James Theatre just in time to relieve the torpor of all of us...

Review: ‘Amélie’

As the title character in the musical “Amélie,” a lonely young woman spreading warmth and doing good deeds even as she remains cocooned in...

Review: ‘The Play That Goes Wrong’

“Oh, Inspector! I can’t take it anymore!” wails one of the hapless characters, an amateur performer enacting a shambles of a mystery drama, in...