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Features the Broadway production of "La Cage aux Folles," a revival of Jerry Herman musical, directed by Jerry Zaks and choreographed by Jerry Mitchel, at the Marquis Theater in new York City; Character played by Will Taylor; Highlights of the musical.

Comments on the drama "The Frogs" performed in New York City.

Comments on the drama "The Oldest Profession" performed in New York City.

Reports on the performance of the drama "Avenue Q" in New York City.

Reports on the performance of the drama "Dracula, the Musical" in New York City.

Comments on the drama "Slava's Snowshow" performed in New York City.

Reports on the performance of the drama "Guantanamo: Honor Bound to Defend Freedom" in New York City.

The article reviews the theatrical productions in New York City in 2016 such as "Empathitrax," directed by Ana Nogueira and "The Grand Paradise."

The article reviews the theatrical production "The Grand Paradise" performed in New York City.

The article reviews “Fables de La Fontaine,” directed by Robert Wilson and performed by the Comédie-Francaise, performed at the Lincoln Center in New York City through July 15, 2007

The article reviews the theatrical production "Behind the Lid," directed by Basil Twist and starring Basil Twist, Oliver Dalzell, and Yvette Edery performed at the Silver Whale Gallery in Greenwich Village, New York City, through July 13, 2007.

The author presents a review of the theatrical production "The Wedding Singer," at the Hirschfeld Theater in New York.

The author reviews a performance of the theatrical production "The History Boys," at the Broadhurst Theater in New York City.

The article reviews a performance of the theatrical production "Bernarda Alba" at the Mitzi E. Newhouse Theater in New York City.

The article reviews a performance of the theatrical production "Hedda Gabler" by the Brooklyn Academy of Music in New York City.

The article review a performance of the theatrical production "Defiance," by the Manhattan Theater Club in New York City.

The article reviews a performance of the theatrical production "The Lieutenant of Inishmore," by the Atlantic Theater Company in New York City.

The reviews a performance of the theatrical production "Zomboid!" at the Ontological Theater in New York City.

The article reviews a performance of the theatrical production "Chita Rivera: The Dancer's Life," starting Chita Rivera, at the Gerald Schoenfeld Theater in New York City.

The article reviews a performance of the theatrical production "The Color Purple," starring Francesca Harper and Jamal Story, at the Broadway Theater in New York City.

The article presents a review of the theatrical production "Souvenir," starring Judy Kaye and directed by Vivian Matalon at the Lyceum Theater in New York City.

The article reviews a performance of the production "Jersey Boys," starring J. Robert Spencer, Christian Hoff and John Lloyd Young at the August Wilson Theater in New York City.

Reviews a performance of the theatrical production "Poor Theater," by the Wooster Group at the Performing Garage in New York City.

Reviews the New York Public Library's festival titled "Man or Superman?" featuring a series of talks, readings and performances celebrating the life and work of George Bernard Shaw. Analysis of Shaw's creative evolution theory; Suggestion that theory compares with the concept of intelligent design; Overview of Shaw's work.

Reviews a performance of the theatrical production "Primo," starring Antony Sher, at The Music Box in New York City.

Examines the influence of "American Idol" on Broadway musicals. Suggestion that the current philosophy of Broadway has been translated into musicals inspired by popular movies and vintage pop songbooks; Impact of "American Idol" on the American musical; How the television program may change forever the way Broadway sings; The style of vocalizing that is rewarded on "American Idol"; Self-congratulatory elements of "American Idol"; Overview of current musicals, including "Dirty Rotten Scoundrels"; Why it would seem to make good commercial sense to create musicals that put the emphasis less on individual performance than on overall concept; Obstacles to intimacy between audience and performers.

Highlights the careers of Broadway actresses Kitty Carlisle Hart and Christine Chenoweth. Education and training in acting, singing and dancing; Personal background; Background on the actresses' famous works.

Presents a review of film actress Melanie Griffith's performance in Kander and Ebb's Broadway musical 'Chicago.' Role of Griffith as Roxie Hart; Career background; Dancing style.

The article reviews several plays in New York in 2015 including Cory Finley's "The Feast," "Hamilton" directed by Thomas Kail and starring Lin-Manuel Miranda and "I'm Looking for Helen Twelvetrees" starring David Greenspan.

The article reviews several plays in New York in 2015 including "The Audience" starring Helen Mirren, "The Curious Incident of the Dog in the Night-Time" directed by Marianne Elliott and starring Alex Sharp, and "Hedwig and the Angry Inch" starring John Cameron Mitchell.

The article reviews several theatrical productions including "Big Love," directed by Tina Landau, "Wolf Hall" and "The King and I," directed by Bartlett Sher, performed in New York.

The article features Dusty Springfield, a model who of the 1960s who died at the age of 59 in 1999. It says that Springfield is using a hair spray which is responsible for global warming and the listeners fell that she is telling them everything when she sings the ''Son of a Preacher Man.'' Moreover, Springfield is being reenacted in "Forever Dusty," by Kirsten Holly Smith which opens at the New World Stages in New York City on November 18, 2012.

GARRISON, N.Y. -- In both cases, they are dressed to match the hour: glowing whites and pastels for the twilight, and black tie for the thick of night. That's how we first and last see the would-be lovers of the Hudson Valley Shakespeare Festival's ''Love's Labour's Lost,'' as silent, graceful figures who complement and complete a sylvan summer landscape. What a difference, though, a few hours make. The same people who looked so luminous and assured at 8 p.m. are being erased from our sight by 10:30. The misty, idyllic mountains and vales have vanished. And as four young men in tuxedos walk away from us, the backs of their black jackets merge into a darkness that eventually consumes them altogether. [ABSTRACT FROM AUTHOR]

Americans expect politicians to be scripted on that great, unbounded stage that is public life. (The dangers of not being so have been confirmed in recent months by Mitt Romney's occasional moments of spontaneity.) But wouldn't life be more entertaining -- not to mention more euphonious -- if someone like Gore Vidal were writing their dialogue? That's what I was thinking as I watched the enjoyable Broadway revival of ''Gore Vidal's The Best Man,'' the 1960 drama about rivals for their party's presidential nomination. And I have the feeling that much of the audience was thinking the same thing. I mean, those guys up onstage were so naturally epigrammatic, especially the ones with whom Mr. Vidal's sympathies lie, that they couldn't open their mouths without casting pearls before us swine in the audience. [ABSTRACT FROM PUBLISHER]

ARE alarm bells going off at the 59E59 Theaters? They should be, since the playwright David Harrower has left a man and a woman alone on a stage there. The last time Mr. Harrower did this, in his Olivier Award-winning ''Blackbird'' (staged by the Manhattan Theater Club in 2007), the chemistry between his characters was so toxic that many of us who saw it still feel the burn. His current offering, opening on Thursday, has the ominous title ''A SLOW AIR.'' It is ostensibly a portrait of a relationship between a long-estranged brother and sister, played by Lewis Howden and Susan Vidler. But the play's scope turns out to range far beyond matters domestic. (The 2007 terrorist attack on the Glasgow Airport is a fulcrum of the plot.) Mr. Harrower has referred to ''A Slow Air'' as ''a Scotland play,'' which considers ''how the certainties with which people grew up have been challenged.'' The production is part of 59E59 Theaters' Scotland Week celebration, which also includes Gerda Stevenson's ''Federer Versus Murray.'' (And it is not, for the record, exclusively about tennis.) 59 East 59th Street, Manhattan, (212) 279-4200, 59e59.org; $35 (''A Slow Air'') and $25 (''Federer versus Murray''). [ABSTRACT FROM PUBLISHER]

You know those thoughts that wake you up at 3:35 in the morning? The ones that so many Americans are having now, in this age of high unemployment and rising prices, about the bottom falling out of their safe little worlds. Well, try to imagine those sharp-toothed worries nattering away to the wail of a saxophone and the downbeat of a bass. Throw in some sliding guitar licks too. Now conjure up a general feeling of the kind of dark, secluded club where a worried man needs to be, instead of in his bed, at 3:35 a.m. [ABSTRACT FROM AUTHOR]

O.K., everybody, please remember that we're on our very best behavior tonight. There'll be no hooting, no teasing, no smart-aleck remarks. We will not -- I repeat not -- make fun of the girl with the really bad reputation. Lord knows, the poor child has suffered enough already. Is that understood? Good. Now sit down and enjoy the show. Such unspoken admonitions seem to run like a news crawl through every minute of the much anticipated, exceedingly sober revival of the musical ''Carrie,'' which opened on Thursday night at the Lucille Lortel Theater, starring Molly Ranson and an excellent Marin Mazzie. An air of suppression hangs over this MCC production, as if a phalanx of stern teachers were standing guard over a passel of unruly adolescents, on the watch for the least sign of disrespect. [ABSTRACT FROM AUTHOR]

Disposable fame is sweet in ''Super Night Shot,'' the collective title for the instant films being shown at the Public Theater as part of the Under the Radar Festival. The mission of this project from the British-German troupe Gob Squad is to wage ''the war against anonymity.'' Now that is something you might argue that the United States has been doing quite well on its own, thank you, what with all those hungry reality TV shows that require regular feeding. The difference is that Gob Squad bestows celebrity without a smidgen of snark or sourness or, for that matter, enough edge (to use one of last century's favorite words) to cause a paper cut. Its members troll the streets of the East Village, near the Public, with four hand-held cameras in search of strangers to appear in a one-hour movie, which is shot immediately before it is shown. [ABSTRACT FROM AUTHOR]

Toward the long-awaited end of the new semirevival of ''On a Clear Day You Can See Forever,'' which opened on Sunday at the St. James Theater, an eminent psychiatrist proposes that what we have been watching was perhaps only ''my own psychoneurotic fantasy.'' Now, I don't have a medical degree, but might I propose an alternate diagnosis? It seems to me, Doc, that you and your show have been suffering instead from a case of clinical depression that you've never been able to get over, no matter how hard you've tried. And, believe me, I know how you've tried. I have felt the pain of your efforts. [ABSTRACT FROM PUBLISHER]

Is anybody listening, or am I just talking to myself? That question lurks behind pretty much everything everyone says in Andrei Belgrader's heartbreakingly funny production of Chekhov's ''Cherry Orchard,'' which opened Sunday night in a Classic Stage Company production. People keep throwing out words like frustrated children trying to skip stones across water, only to see them sink without a splash, again and again. [ABSTRACT FROM AUTHOR]

That's an awful lot of space for one mere mortal to fill up. The stage that has been created at St. Ann's Warehouse for ''Misterman'' -- Enda Walsh's gripping (as in by the throat) monologue of a play -- looks to be roughly half the size of a football field. And Cillian Murphy, the sole and slender actor who appears in it, is definitely not as big as your average football player. Yet almost from the beginning of this breathless tale of an Irish village called Inishfree, which opened on Sunday night under Mr. Walsh's direction, the electrifying Mr. Murphy seems to inhabit every millimeter of the vast and cluttered wasteland in which he has been let loose. And it's not just because of all that running he does from one end of the stage to the other. [ABSTRACT FROM AUTHOR]

That Clyde Barrow is such a cutup. Why, the boy will do most anything to stir up his sluggish fellow Americans: slap at them, tickle them, shoot them in cold blood. He'll even punch his fist clean through a wall and drive a big old car right onto the stage, just to try to get a rise out of somebody. But Clyde, honey, t'ain't nothing you can do to raise the pulse of something that's as near to dead as the show you're in. ''Bonnie & Clyde,'' which opened on Thursday night at the Gerald Schoenfeld Theater, is a modest, mildly tuneful musical biography of Clyde Barrow and Bonnie Parker, the kissin' outlaws from Texas who hijacked the American imagination during the Great Depression. It portrays its title characters (played by Laura Osnes and Jeremy Jordan) as restless, libido-charged young 'uns who are about to suffocate from the grayness of their dreary lives. [ABSTRACT FROM PUBLISHER]

Identity crises are epidemic in Thomas Higgins's ''Wild Animals You Should Know,'' the undercooked new comedy that opened on Sunday night at the Lucille Lortel Theater. The nerdy business consultant who has lost his job; the loutish beer swiller who has lost his wife; the overachieving, sexually ambivalent Boy Scout who has lost his cellphone: they're all flailing, groping to figure out who and what they are. So, I regret to add, is the play. Directed by Trip Cullman, with a cast that includes Alice Ripley (''Next to Normal'') and Patrick Breen (''Next Fall''), this MCC production takes a group of boys and men (though, really, they're all boys) into the woods to lose -- and possibly find -- themselves. The occasion is a Boy Scout camping expedition, led by Rodney (John Behlmann), a rigid scoutmaster with a tragic past and a few secrets. [ABSTRACT FROM AUTHOR]

It can get pretty lonely being the kind of person who goes over Niagara Falls in a barrel. Anna Edson Taylor (1838-1921) made her name more than a century ago by doing just that, and received oceans of publicity. Yet during the many years of her life portrayed in ''Queen of the Mist,'' Michael John LaChiusa's obsessive musical portrait of an obsessive woman, she encounters only one true kindred spirit. And he's not exactly someone whose name you'd want linked to yours for eternity. In a telling scene in this production from the Transport Group, which opened on Sunday night at the Gym at Judson, Anna (Mary Testa) offers some advice to an agitated stranger with a foreign accent (Tally Sessions), a fellow who seems to share her fanatical spirit but just can't commit to his (unnamed) cause. ''We can and we must act on our impulses, our dreams!'' Anna tells him. So this hapless little man, who turns out to be Leon Czolgosz, goes off and assassinates President William McKinley. [ABSTRACT FROM AUTHOR]

All family reunions should be this satisfying. Having spent months apart and suffered losses that might have leveled a less resilient clan, the Wyeths of ''Other Desert Cities'' have reassembled on Broadway at the Booth Theater, and absence and adversity (as they're supposed to but so seldom do) have made them closer than ever. This means they have even more power to nurture, delight and wound one another and, not incidentally, move to tears anyone who visits them. There was much rejoicing when this Jon Robin Baitz play had its premiere Off Broadway at Lincoln Center in January. It was not only the most thoroughly integrated and sustained work from Mr. Baitz, who had been regarded as a promising wunderkind for long past his sell-by date. This witty, deeply enjoyable family drama also had a five-member cast of top-flight virtuosos. Expectations were that the show would beat a fast path to Broadway with its marvelous cast intact. [ABSTRACT FROM PUBLISHER]

The grassy green rectangle that occupies most of the stage is considerably smaller than a football field. But it is the setting for a dangerous sport, the kind that sends its players hurtling to the ground with cranium-rattling impact. The game is love. And though it may at first feel like a mild diversion, as contact sports go, it soon becomes clear that no one is leaving the field without injuries. People fall down a lot, tackled by emotions beyond their control, in Karin Coonrod's rowdy production of ''Love's Labor's Lost,'' which opened Monday night at the Public Theater. This streamlined interpretation of Shakespeare's early comedy about men trying to do without women -- and failing miserably -- runs through its paces like a body-slamming lineman. But for all this production's exhaustingly antic physicality it's the words that, well, have the last word. That tends to happen with Shakespeare. [ABSTRACT FROM AUTHOR]