Director Adam Immerwahr and a wonderful cast make this piece that’s been running as long in London as Queen Elizabeth II alive with an energy that belies the play’s age.
Kenneth Lonergan’s new play explores the many levels of trust.
Though Bruce Graham’s play is set on the eve of a potential Philadelphia sports triumph it chronicles the long-suffering, patiently impatient diehard who supports local professional teams.
Michael Hollinger and Vance Lemkuhl’s musical is lacking in conflict and complexity.
In directing Christopher Sergel’s dramatic adaptation of TO KILL A MOCKINGBIRD, Jesse Cline is uncharacteristically too reverential about the material.
After this year, a holiday tradition will be refreshed. Here’s wishing it would remain.
Ionesco offers comically entertaining insight on the careless and constant cacophony that passes for communication but is just platitudinous twaddle.
This touring production doesn’t make THE BOOK OF MORMON any more savage, but it knits Parker and Stone’s comic ideas together into a moving story more satisfying because it has a human core.
The LAFFERTY’S WAKE ensemble is quick and amiable in Susan Turlish’s gentle comic story,
Joe DiPietro’s thought-provoking piece is set in Woodrow Wilson’s second term, but it rekindles a period in the mid-20th century of sweeping biographical plays about historical figures.
Ozzie Jones’s production of this updated Langston Hughes play dazzles in just about every way a theater piece can.
John Guare’s play about race relations in early 19th century New Orleans is sprawling and convoluted under the best of circumstances.
Ken Ludwig brings four of the outstanding characters from Lend Me A Tenor from Cleveland to Paris for more rollicking escapades.