ARCHIVES

A revival of Fiddler strikes a universal note; a tennis legend, warts and all; Roulette fires blanks, but bridge & tunnel is a winner.

Confronted with divine works, the characters in Terrence McNally’s two playlets react with decidedly profane thoughts.

In Valhalla, a gay romance in the forties; in Eden, an Irish marriage in tatters; in Agamemnon, the timeless Greek tale of jealousy and vindictiveness.

Adam Bock’s aviary parable aims for fanciful but delivers tedium; Musical of Musicals, on the other hand, hits its targets with sophisticated affection.

Julia Cho writes with elegant lyricism about a family’s disintegration before coming together; Ute Lemper’s cabaret turn is hard to digest.

A revival of Wallace Shawn’s play merely reiterates how little there was to begin with; clown Bill Irwin revisits the past, too, but some of it seems old hat.

Neil Simon is trumped by his own now-distant triumphs; Jonathan Reynolds dishes—literally and figuratively—about his colorful past.

John Simon reviews Nothing But the Truth and The Story.

Never Gonna Dance has good dancers and better dances but little charm; an adaptation of Birdy solves literary problems with theatrical acumen.

Few scores score as giddily as the one for Wonderful Town, and few stars shine as brightly as Donna Murphy in this love letter to Greenwich Village.