NEW YORK â Deep, imperious and thundering with an angry irony, the voice precedes the man. When it first tears through the darkness, amplified to eardrum-rattling volume, you sense a collective quickening of pulses at the Daryl Roth Theater, where a somber and monotonous new variation on âCyrano de Bergeracâ opened Thursday night.
NEW YORK â Theyâre speaking more softly in Richard Nelsonâs Rhinebeck these days, as if a raised voice might upset a tenuous balance. Not that any of the previous seven (and wonderful) family dramas written by Nelson during the past nine years, all set in the Hudson River town of Rhinebeck, New York, have ever involved much shouting.
NEW YORK â Itâs raining metaphors in âfor all the women who thought they were Mad,â Zawe Ashtonâs densely poetic play about racial alienation in the big city. As to whether itâs actually raining â or burning hot, with a sun that sears the skin â is a moot point in this production, which opened Sunday at Soho Rep.
NEW YORK â A lot of whatâs being said on the stage of the Vineyard Theater these days is maddeningly ordinary â the kind of friendly, vapid conversation you might exchange with a stranger in a grocery store line. Yet every word spoken, no matter how banal, seems to stretch your nerves closer to snapping.
NEW YORK â Even within the gruesome history of torture and execution devices, it ranks as a thing of unspeakable cruelty â a harrow that punctures the skin of the convicted prisoner by writing the crime of which he has been accused on the surface of his naked body, over and over again.
NEW YORK â Could we <em xmlns="http://www.w3.org/1999/xhtml">please </em>have a little quiet? Thereâs a great actress onstage at the Cort Theater, and Iâd like to hear what sheâs saying.
LONDON â Has a vampire had its way with âAll About Eveâ? The anemic spectacle now sleepwalking across the stage of the NoĂ«l Coward Theater here shares a title, characters and much of its dialogue with Joseph L. Mankiewiczâs Oscar-winning 1950 film about the glamorous narcissists who inhabit the dark and glittering world of Broadway.
NEW YORK â A promising buzz of suspense stirs the opening moments of âThe Wrong Man,â Ross Golanâs solemn new chamber musical, which opened Wednesday at the Robert W. Wilson MCC Theater Space in Manhattan. A lone, ominous whistle; a searchlight raking the darkness; a throng of tense-bodied men and women looking furtive â such gratifyingly classic notes of noir are sounded before a single word is sung.
NEW YORK â You thought tropical storms were disruptive? The Italian Americans living along the Gulf Coast in the Roundabout Theater Companyâs untethered revival of Tennessee Williamsâ âThe Rose Tattooâ are really up against the elements, and so are the actors playing them.
NEW YORK â The everyday poison known as toxic masculinity becomes dangerously easy to swallow in âLinda Vista,â Tracy Lettsâs inspired, ruthless take on the classic midlife-crisis comedy. In the sunny opening scenes of this very funny, equally unsettling Steppenwolf Theater production â which opened on Thursday at the Hayes Theater â youâll probably feel like cozying up to that sheepish, disheveled big guy who rules the stage with his outspoken wit.
NEW YORK â Here she comes again. Cher, our lady of the sunshine plaids and a take-charge kind of gal, has commandeered a New York stage to preen on. And in this festive season of getting and spending, she is eager to usher nostalgic admirers down her own special memory lane, which looks a lot like Rodeo Drive.
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