"Into the Woods," the Stephen Sondheim-James Lapine musical in which classic fairy tales are combined to tell a grown-up fable that might be called "Neurotically Ever After," is that rare thing — a Sondheim hit that critics have found lacking.
At last, a Broadway show that doesn't feel the need to conk its audience over the head with hollow flash and empty dazzle. "Once," the Tony-winning musical based on John Carney's 2006 indie film, honors its source by staying true to its folksy lyricism.
After the lights are dimmed on Broadway in honor of Elaine Stritch, who died Thursday at 89, I'm not sure that they'll ever burn quite as fiercely again.
Plays, regardless of when they were written, take place in the eternal present. Updating a classic — for example, resetting Shakespeare's "Romeo and Juliet" in late-1920s Los Angeles, as Shakespeare Center of Los Angeles has done — is a tried-and true-tactic of contemporary...
Jonathan Tolins' hit off-Broadway play, "Buyer & Cellar," comes with a couple of disclaimers before its star Michael Urie can conjure into existence the one and only Barbra Streisand.
The whole profane title of "Stupid ... Bird," which opened last weekend at the Boston Court Performing Arts Center, can't be printed in a family newspaper. But I can entreat those of you with a love of Anton Chekhov and a taste for theatrical horseplay to rush out and see Aaron...
Richard Thomas' overtly dastardly Iago doesn't mesh especially well with Blair Underwood's dashing Othello. Still, the pitched battle proves gripping.
While Odysseus is away, Penelope will play — sort of — as she is besieged by competitive, word-loving suitors in Enda Walsh's brazenly unorthodox retelling of Homer, making its L.A. debut at Rogue Machine.