Katie Holmes is ideally cast in "Dead Accounts." Not because she's that Katie Holmes, but because the fresh-faced star effortlessly projects the Midwestern virtues of honesty and moral integrity that…
If you run a theater whose very existence hangs on the support of a older-skewing subscriber audience, do you really want to sock them with a show about an Alzheimer's victim who begs his family's…
"The Twenty-Seventh Man," Nathan Englander's dark and disturbing political drama about Stalin's sweeping purge of Russia's Jewish literary giants, seems to belong on the page rather than the stage.
Under Ruben Santiago-Hudson's flawless helming, a brilliant cast makes this 1987 play live and breathe and sing for a new generation.
"Radiance," by Cusi Cram, upholds Labyrinth's rep for eccentricity, with its surreal treatment of the 1945 U.S. mission that dropped the atomic bomb on Hiroshima. But the peculiar slo-mo directorial…
"The Performers," David West Read's romantic comedy about a lovers' showdown at an Adult Film Awards ceremony in Las Vegas, is dopey fun.
"Vanya and Sonia and Masha and Spike" is brainy and witty and clever and cute.
Helmer Austin Pendleton's production has the handsome look (of battered elegance) and elusive spirit (beautiful, but damned) of his prior Chekhovian outings for the CSC.
If we must have a play about Richard and Pat Nixon, then Douglas McGrath makes a damned good job of it in "Checkers." TV pros Anthony LaPaglia ("Without a Trace") and Kathryn Erbe ("Law & Order…
"Sorry" is the penultimate in Richard Nelson's wonderful series of plays marking transformative moments in the lives of a family of New York liberals, each milestone coinciding with some profound…
What's so interesting about watching a 600-pound man eating himself to death? Quite a lot, actually.