ARCHIVES

You know you’re in a world-class city when there are two shows running simultaneously in which puppets deliver lessons in Schadenfreude.

And now for something completely exhausted: Spamalot’s gags and songs are weary from their quest.

A wildly ambitious, era-melding show about a trial in purgatory, at which fifteen actors play roughly twice as many characters from biblical times through the present day - nearly three hours of chaos.

This is vintage farce (and in farce, as in wine, old is good), with no holds barred and all foibles bared.

Even with so-what songs, Dirty Rotten Scoundrels is a fun night out with a terrific cast.

Brooklyn Boy is Donald Margulies’s warm yet unsentimental pilgrimage to his outer-borough childhood.

How, I wonder, could one salvage the presently disastrous musical Good Vibrations, which is based on the preexistent songs of the Beach Boys?

The 25th Annual Putnam County Spelling Bee is almost too much title for a wispy little musical that hangs on the horns of a dichotomy.

Sutton Foster is a delight, but everything else in Little Women goes horribly, horribly wrong.

The New Group’s revival of David Rabe’s Hurlyburly confirms it as a major play, so absorbing bit by bit that by the time its three hours seem overlong, it is over.