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“The Prom” Is a Celebratory Trumpian Footloose When We Need It Most

Maybe “The Prom’s” greatest success, in all of its glitter and be gay, is a validation that splashy, garish musical comedies, themselves no champion of political correctness, can still be made from scratch. “The Prom,” exceptionally original yet cradled by tradition, is proof that bursting into jazz hands when someone puts you down is still a worthy prescription for joy.

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“Torch Song” Breathes New Life, Radiantly Led By Michael Urie

You may find that this glorious Broadway revival, led by Michael Urie and Mercedes Ruehl in the same theater where it opened over 35 years ago, burns a softer flame —  no less bright, for sure, but perhaps a bit more tender, lit for a time when a drag queen poised before a Broadway audience, while no less political, is imaginably less avant-garde.

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In “Midsummer” The Mobile Unit Delivers a Joyous Celebration of Life and Shakespeare

Joe Papp would be proud had he lived to see what his Mobile Theater had become: a brimming, joyous sanctuary of inclusivity and plurality, of Shakespearean excellence armed with subtle and striking mindfulness, no longer a struggling caravan of the American theater’s earliest pioneers, but a rag-tag group of brilliant players all the same.

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