A dusty Jule Styne musical from 1947 inspired later works, but fails to make a case for its second life. Lane Williamson reviews.
A musical adaptation of the 1993 Johnny Depp film makes some improvements to the characters, but still doesn’t sing. Lane Williamson reviews.
John Doyle’s signature minimalism fails to amplify the storytelling in this revival of Marc Blitzstein’s satirical play in music. Lane Williamson reviews.
Despite an elegant design and phenomenal acting, this play about Lehman Brothers Holdings focuses on the bankers and ignores the common man. Lane Williamson reviews.
A modern Chekhovian riff shows that life has not changed much since the nineteenth century. Lane Williamson reviews.
Thick layers of sexism and a dull score pervade any chance of this lost Rodgers & Hart musical taking flight. Lane Williamson reviews.
Eric Berryman gives voice to inmates in 1965 Texas prisons via The Wooster Group’s “record album interpretation,” but the artist’s connection to the work is missing. Lane Williamson reviews.
A revival of Athol Fugard’s play about South African refugees features an intoxicating atmosphere and a skillful performance by Zainab Jah. Lane Williamson reviews.
Spoken in the language of Tevye and his daughters, this revival loses the humor, but brings out the pain. Lane Williamson reviews.
Two Strindberg plays, “The Dance of Death” adapted by Conor McPherson and “Mies Julie” adapted by Yaël Farber, yield different results in new productions at Classic Stage.