Theater Review | 'Row After Row'
They Don’t Live in the Past; They Just Visit From Time to Time
By CHARLES ISHERWOOD
Jessica Dickey’s “Row After Row” tells the story of three Civil War re-enactors in Gettysburg.
In John Patrick Shanley’s “Outside Mullingar,” an Irish father and son and their neighbors, consider questions of life, death, love and the family farm.
Jessica Dickey’s “Row After Row” tells the story of three Civil War re-enactors in Gettysburg.
Following in the footsteps of the Metropolitan Opera, theater producers are weighing the potential risks and rewards of HD broadcasts in movie theaters.
The actor will star opposite Patricia Clarkson and Alessandro Nivola in a revival of Bernard Pomerance’s play.
“Thank You for Being a Friend,” directed by Nick Brennan, is a raunchy and overwrought drag parody of “The Golden Girls.”
George Brant, author of many plays produced regionally but never in New York, is enjoying a moment with “Grounded,” about a fighter pilot directing drones.
In Heidi Schreck’s new play, at Long Wharf Theater Stage II, mismatched colleagues try to find their way through the 2008 financial crisis.
August Wilson’s “Fences” explores the passions and problems of masculinity and the tension between a father and his sons.
A guide to productions in New York City, with a special note of shows in previews or about to open.
“Stop Hitting Yourself” views “late-stage capitalism” through the prism of the Busby Berkeley musicals of the 1930s.
Top-grossing Broadway shows for the week ending Jan. 19.
Recommended shows from Ben Brantley, Charles Isherwood and other theater critics for The New York Times.
Recent show reviews from Ben Brantley, Charles Isherwood and other theater critics for The New York Times.
Hilary Mantel’s best-selling novels about Thomas Cromwell and Henry VIII have been adapted for the stage at the Royal Shakespeare Company.
In the new adaptation of “The Loneliness of the Long Distance Runner,” blacks and immigrants in Britain face the barriers that a white lower class did in the 1950s.
“East Towards Home,” a Billy Yalowitz play, features a Jewish New Yorker’s 20th-century mix of storytelling, memories and Woody Guthrie songs.
“Rosencrantz and Guildenstern Are Dead” is being presented by the Acting Company, along with “Hamlet.”
Isabella Rossellini talks about the sex lives found in the natural world in “Green Porno,” at the Brooklyn Academy of Music.
Lunacy is presented with a poker face in a revival of “Loot,” Joe Orton’s farce directed by Jesse Berger at the Lucille Lortel.
“Have I No Mouth,” part of P.S. 122’s Coil Festival, puts a mother, a son and their psychotherapist on stage in an exploration of loss.
In “Grounded,” a one-woman show starring Hannah Cabell at Walkerspace, a military pilot is reassigned to drone duty, operating deadly missions from a base outside Las Vegas.
The Menier Chocolate Factory’s production of the famously hard-to-stage musical “Candide” suggests that life may just be endurable — as long as we have the pluck to put on a show about how awful it is.
A revival of Jez Butterworth’s 1995 “Mojo,” with Ben Whishaw, and three Beckett monologues “Not I/Footfalls/Rockaby” are reminders of the complex artistry required to distill words into live theater, and the importance of getting rhythms right.
Mr. Lee wrote more than a dozen stage works, but his best-known play was “The First Breeze of Summer,” which was nominated for a Tony Award.
“What’s It All About? Bacharach Reimagined” will now play through February 16 at New York Theater Workshop.
The glut of Shakespeare plays and other star-studded classical productions has led to happily overwhelmed theatergoers and to marketing challenges for theater companies.
Many of these shows are currently in previews.
WordPlay Shakespeare and other programs allow readers to watch or listen to sections of his works as they view the text.
Approximately 500 high school and college students recorded themselves delivering lines from Shakespeare’s “Hamlet” in 15 seconds or less using Instagram.