“Mummenschanz’s “RE: PLAY” will leave you with a greater understanding and expansion of what is possible to convey without words; the audience’s rapturous applause breaks their silence.”

“Anna Karenina: a riff” is the perfect intellectual and emotional antidote to pushing aside all the negativities of modern-day news and inner demons to immerse yourself in a romp of music, humor, and heartbreak for two hours.”

As the hand bell choir assembles like a Christmas card vignette to chime “Silent Night,” while real snowflakes fall, melting as they land upon your cheek, you become enchanted by the spirit of this miraculous season and this extraordinary production.

Successful entrepreneurs like Harry (an overzealous but hypersensitive Raúl Esparza) typically attempt to guard their “art” from “commerce” for as long as possible. They feel frightened by the prospect of commercial success overwhelming their sense of artistic integrity. At least that is Harry’s point of view in Theresa Rebeck’s “Seared” currently running in the Susan & Ronald Frankel Theater at The Robert W. Wilson MCC Theater Space.

“Love Actually? The Unauthorized Musical Parody” charms its way into your heart from the second you can take lobby photos with the iconic cue cards from the movie, and from there it only continues to spiral into a zany, enthusiastic flurry of Christmas-themed fun. “

Harvey Feinstein wisely chooses to “be” Bella Abzug and not simply “portray” her. There are no gimmicks here, no backups, no filters, no frills – just Bella. Mr. Fierstein draws on his skills of connecting with his audience to raise the rich and enduring questions raised by Ms. Abzug’s life and legacy.

The cast is remarkable and even in all respects. Ordinary tasks from baking quiche to making salads almost exist as part of the dialogue, along with the rehearsal of modern dance routines that circle the observers for inspection. This is how the Michaels live.

The characters continue to cascade through the decades – all suffering from those initial injuries of twisting the wrong way (an event not to be taken literally) and becoming fatherless (one of many tragedies that “stifle” growth).

There is no denying that a retrospect on of the life of Albert Einstein and the development of his renowned Theory of Relativity would be compelling and extremely interesting. To present this study in the form of musical theatre is a challenging and difficult task that requires a keen intellectual and creative perspective.

As a whole, “One Discordant Violin” satisfies the theatergoer’s palate with an enchanting story that rings true, is compellingly relatable, and plucks the strings of the heart with cosmic vibrations.

All three actors are admirable and do what they can with the material but the characters and set of circumstances are shallow and implausible.

“Dr. Ride’s American Beach House” does not rise to an epic tale of “queer anti-heroes” forging a pathway to self-acceptance and claiming true power and control. Under Katie Brook’s direction, the cast does what it can to authenticate their character’s conflicts despite the weakness of Liza Birkenmeier’s script.

“This provocative play certainly gives one lots of food for thought, even if you don’t bite the apple. The witty dialogue and modern quips will keep you entertained, and you’ll learn a thing or two about what God is thinking.”

‘“Broken Story” has many interesting aspects and is decently acted aside from a few over the top moments here and there, but it feels, much like the murder at the beginning of the story, unfinished. I hope that this story is explored further and I look forward to seeing it develop even more.”

Adam Rapp explores and mines the “shadow lands of the inner psyche” in “The Sound Inside” leaving those who watch and listen scores (think music) of rich and enduring questions about “time and space, the distant past, and the infinite future” and suggests, perhaps, the journey might be accomplished with redemption and release “on the other side.”

“Less is more,” could possibly be the mantra of Mr. Doyle’s recent endeavors but this incarnation of Macbeth is more or less distorted and inconsequential. 

The show is not perfect, but it is certainly a felicitous tribute to a brave woman who beat the odds and rose to stardom because of her talent and determination.

This iconic and relevant work is for women, primarily women of color navigating their way through an often antagonistic world, making life-and-death decisions about survival and future.

“It is a smart revival that is fresh and certainly highlights the wonderful and skillful performances of Ms. Tomei and Mr. Elliott who ensure a great evening of entertainment.”

“Too much information is packed into the nearly three-hour verbal onslaught and none of it is new or delivered in a fresh manner that results in entertainment.”