ARCHIVES

sometimes wonder whether Tony Kushner’s greatest talent isn’t for marketing.

Tennessee Williams’s early and immature Spring Storm is best as a game for Williams fans: How many names, characters, situations, and devices of his later plays can you identify here?

Problematic to begin with, the dour Caroline, or Change loses steam in the move to Broadway; animal repulsion rules Prymate’s monkey business.

A pair of Broadway revivals stirs up an old debate about British versus American drama—brain candy or matters of the heart.

Two knockout revivals affirm what the originals revealed: that Sondheim doesn’t always hit his target, and that Larry Kramer once, assuredly, did.

Lynn Nottage’s new play is as memorably intimate as the intricate unmentionables its heroine creates. In Glocca Morra, things seem a tad underfed.

Broadway’s spring awakening comes in the form of a finely observed drama about a ballet master and the mysterious couple who visit.

Larry Gelbart’s freewheeling Sly Fox seems starless without George C. Scott, but Barbara Cook’s concert provides all the charisma one needs.

The Great Depression bequeathed us screwball comedy, a genre beyond the stars’ grasp in this train wreck of a revival.

In Small Tragedy, an amateurish acting company rehearses Oedipus Rex, and it gradually emerges that America is as blind as the self-blinded Oedipus, and its people as purblind as the self-deluded Jocasta.