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Theatre Reviews Limited is your source for reviews of many of the shows currently running in Manhattan as well as in New Jersey and around the United States.

“I’m A Stranger Here Myself” at The York Theatre Read Review>

Among the most important music of this genre was and remains the music of the Weimar Republic, democratic Germany before the reign of Adolf Hitler. Mark Nadler, in his impressive “I’m A Stranger Here Myself,” has researched the music of this era and created a remarkable work of theatre which focuses on the music created by composers who found themselves strangers in their own land and targeted for extinction by a ruthless and maniacal leader. This music – this veritable ship – transported a relatively small number of Jews and homosexuals to safety in America and other locations.

“The Girl I Left Behind Me” at 59E59 Theater C Read Review>

A group of brave and talented women left hearts aching after their performances: aching men’s hearts; aching women’s hearts; aching celebrity hearts including those of Bea Lillie, Tallulah Bankhead, and Joan Crawford. What sort of women had this kind of broad audience appeal? What sort of songstress had the ability to leave so many aching hearts behind when on and off the stage?

“Chemistry of Love” at La MaMa First Floor Theatre Read Review>

Oscar Wilde’s belief that “Life imitates art, more than art imitates life” was confirmed during the performance of Jill Campbell’s “Chemistry of Love” currently playing at the La MaMa First Floor Theatre. As the cast struggled on stage to make sense of Ms. Campbell’s script about the meaning of making art and how the making of art counterpoints with the rise and fall of relationships, several audience members – completely confused or just completely insensitive to any attempt at creativity – concocted a few interesting love potions themselves. 

“The Wonderful Wonderettes – Caps and Gowns” (Cincinnati, OH) Read Review>

The two-hour show features some thirty-five songs by songwriters from the heyday of teeny-bopper music, two-tone shoes and wide skirts with apliqued daisies on them. With titles such as Don’t Mess with Bill, Hooked on a Feeling and My Boy, Flat Top, we can be certain we’re not on Stephen Sondheim territory. Not that I mind and not that the full-house audience on Thursday night did. In fact we all loved the complete silliness of it all – the doo-wops…the sha-na-na-nahs…the incoherent sentimentality and the joyful banality that says more about the “don’t worry, be happy” 50’s than any work of literature can.

“Double Indemnity”(Cincinnati, OH) Read Review>

Two actors from the Seattle area collaborated on the adaptation of the original novel now being given a solid production on the Marx stage at the Cincinnati Playhouse in the Park.

Under the firm direction of Michael Evan Haney, the cast of seven works hard to sustain the interest of the audience over an intermission-less one hour and forty minutes. On opening night the leisurely pacing could afford to have picked up more speed.

Lunch with Aubrey Berg (Cincinnati, OH) Read Interview>

I just returned to Cincinnati from New York, where I attended CCM’s 21st Musical Theatre Senior Showcase at the Alvin Ailey Theatre. In one of America’s premiere music schools right in the heart of the Midwest, Aubrey Berg has trained and inspired countless theatre artists who have become part of Broadway’s elite. Berg helms CCM’s Musical Theatre Department.

As we settle down to lunch, Aubrey Berg’s affable charm immediately disarms me ...

A Letter from New York to Cincinnati and Back: Reviews of Matilda, Once and Nicolai and the Others Read Review>

Last week I was up in New York to support the graduating class of the College-Conservatory of Music Musical Theatre triple-threats in their annual rite of passage showcase before an audience of talent managers and casting agents. On three separate evenings I enjoyed the superb theatre offerings that one can find in NYC on a year-round basis. First came Richard Nelson’s Nikolai and the Others – currently on a limited run at the Mitzy E. Newhouse theatre in Lincoln Center. Later in the week we took in Once at the Jacobs on Broadway and, on Saturday the new musical hit of the season   (if my crystal ball serves me right), Matilda, based on Roal Dahl’s children’s book. Here is my three-in-one review ...

“Collapse” at New York City Center Stage II (New Home of the Women’s Project Theater) Read Review>

Things fall apart (Chinua Achebe) and the center sometimes just does not hold (W. B. Yeats). For Hannah (Hannah Cabell) and David (Elliot Villar) the center fails when the collapse of the I-35W Mississippi River Bridge in 2007 sends David’s car into the river (almost drowning) and the so-called Global Financial Crisis of 2008 threatens Hannah’s position at her law firm. David is suffering from PTSD and feels he is inadequate as a husband and helpmate and Hannah has gone into caregiver overdrive, exacerbating David’s feelings of insecurity and inadequacy. They each feel the other is ready to bolt and neither is communicating their fears with any degree of adequacy. Things are in a heightened state of collapse. David admits, “Things collapse. Bridges. Companies. Marriages.”

“Southern Discomfort” in the Huron Club at the SoHo Playhouse Read Review>

Being strangers in a strange land and being forever alone haunt the six intriguing characters in Elisabeth Gray’s “Southern Discomfort” currently playing the Huron Club at the SoHo Playhouse. Their stories illuminate the ennui and discomfit of a people who somehow lost a significant piece of their history and culture in the Era of Reconstruction following the America Civil War. 

Prison-pent, Ms. Gray’s characters are not only lonely and construct a variety of tactics to address their loneliness; these memorable characters who are based on actual Southerners Gray has met and known in her years growing up in the South are also abused and abashed and adept at sublimating the depths of their considerable emotional pain ...

“Devin Bing and the Secret Service” at the Metropolitan Room Read Review>

Devin Bing is on a journey to success. It is important for this delightful and talented crooner to decide soon which “road” will be the best choice for him. His engaging appearance at the Metropolitan Room on Sunday April 7, 2013 suggests at least three important choices that might need to be made.

Mr. Bing has a pleasant jazz-blues-rock voice which he effectively presses into service to deliver the meaning behind the lyric in any of these three musical genres ...

“Bullet Catch” at 59E59 Theater C Read Review>

Leave it to an illusionist to work diligently for seventy-five minutes to achieve the essence of reality. Rob Drummond (a.k.a. William Wonder) reads minds, levitates a small table, proffers games of chance to audience members, and tells the remarkable story of the illusionist William Henderson who was inadvertently killed by a volunteer from the audience while performing the Bullet Catch illusion in London in 1912.

“Cougar the Musical” at St. Luke’s Theatre Read Review>

Sometime success comes in simple packages. A successful new musical needs interesting characters; these characters need engaging conflicts; the action of the musical needs to take place in a variety of inviting settings; and, finally, the plot driven by the conflicts must feature important themes. Donna Moore’s “Cougar the Musical,” currently running at St. Luke’s Theatre in Manhattan, addresses all four literary elements and brings to the boards a successful and entertaining theatrical experience.

“Buyer & Cellar” at Rattlestick Playhouse Theater Read Review>

Reality collides with fantasy in Jonathan Tolins’ new play “Buyer & Cellar” resulting in a near-nuclear reaction of comedy, sentimentality, and sheer brilliance.

Some rich and impressive collaboration has ignited the stage of the Rattlestick Playwrights Theater with the opening of Jonathon Tolins’ new play aptly titled “Buyer & Cellar.” First is the combination of the fascinating, well structured script and the compelling solo performance of Michael Urie. Next is the extremely competent and confident story telling melding with the several characters the actor manages to inhabit during the ninety minute escapade. Finally, the story is simple and enlightening, mainly because the characters are clear, intelligent and thoughtful as well as clever and vulnerable. They never appear as a parody or impersonation but are brought to life with subtle physical nuance and enormous emotional content. Michael Urie gives a tour de force performance that is engaging and endearing ...

“Parade” at The Carnegie (Covington, Kentucky) Read Review>

The 1913 trial of Leo Frank, a factory superintendent convicted of raping and murdering a thirteen-year-old employee, is the subject of Jason Robert Brown’s "Parade." Brown’s music, set to his own words, and librettist Alfred Uhry’s deeply personal connections to this tragic story about anti-Semitism in early 20th century America’s South give a modicum of dramatic thrust and moral gravity to this stage work, but the authors should have considered turning this work into something other than a Broadway show, in which case "Parade" might have met with a more fortuitous reception from the 1983 Broadway critics and audiences ...

“Good with People” at 59E59 Theater B Read Review>

An overturned chair on an otherwise bare carpeted stage “speaks” volumes about the current status of the Seaview Hotel in Helensburgh Scotland. Upright that same chair and the audience is transported back in time to a flashback of epic proportions. Move the chair about the stage during the flashback and the scenes change disclosing a tryst between two persons, two generations, two histories, and two agendas. 

This kind of precision and clarity marks the entire 55 minute performance of “Good with People” ...

“I Know What Boys Want” at the WorkShop Theater Read Review>

It is difficult to identify the real antagonist in Penny Jackson’s new play “I Know What Boys Want” running at the WorkShop Theater through April 13. The conflicts are as numerous and entangled as the over-the-top tangle of cell phones dangling from the “ceiling” of the set. The main conflict which drives the predominant plot is between Vicky Walker (Sara Hogrefe) and, oddly enough, a cell phone: she needs to confiscate the cell phone of Oliver (Nick Vennekotter) who surreptitiously filmed Vicky in a compromising sexual tryst with her beau Roger (Liam Rhodes). It is not clear (and it needs to be less ambiguous) whether the act was consensual or not and whether in fact a date rape drug was used. These are significant details – not to be used to lay blame but to identify the precise sources of Vicky’s understandable and appropriate rage against Oliver and Roger.

“Shaheed: The Dream and Death of Benazir Bhutto” at Culture Project at 45 Bleecker Street Read Review>

Point of view percolates a delicious brew of intrigue in Anna Khaja’s “Shaheed: The Dream and Death of Benazir Bhutto” playing at Culture Project at 45 Bleecker Street. Through the points of view of eight characters, Khaja’s engaging play focuses on the life and death of Benazir Bhutto and this literary device allows the audience member to have access to a variety of understandings of Bhutto’s controversial personal and political history.

Under Heather de Michelle’s thoughtful and sedulous direction, Ms. Khaja plays all eight characters in an episodic rather than a chronological fashion ...

Marissa Mulder in “Tom … in His Words” at the Metropolitan Room Read Review>

Most of Marissa Mulder’s patter is not patter at all. Her spoken words introducing songs or connecting songs in “Tom … in His Words” are the words of Tom Waits. This performance choice for her current appearance at the Metropolitan Room results in an engaging evening of song where Ms. Mulder proves unequivocally that exquisite vocal interpretation is more about something one is as opposed to something one does. 

This maxim also holds true of the musically articulate work of Mulder’s accomplished band ...

“Honky” at Urban Stages Read Review>

“Unless you are honest with yourself, you cannot be honest with the people who love you.”

Sigmund Freud would have loved “Honky,” Greg Kalleres’s new play running at Urban Stages through April 14th. This play is chock full of repression, transference, hysteria, projection, and it makes people laugh. Freud loved humor and posited in his 1905 “Jokes and Their Relation to the Unconscious” that humankind tells jokes about and laughs about things about which it is uncomfortable. Perhaps the top three things which make us uncomfortable are the power vectors race, sex, and money. “Honkey” bravely tackles these issues with humor, grace, and style.

“Hit the Wall” at the Barrow Street Theatre Read Review>

A slice of gay life or for that matter any selective lifestyle is the scenario that plays out in J. D. Cerna’s solo show “Not as Cute as Picture” taking the stage at the historic Duplex in Greenwich Village. Rather than the common coming out or coming of age drama this falls more into the finding myself category in which Cerna plays himself and a multitude of other colorful characters. The show opens with some powerful energy and slick choreography from the disco eighties that delivers the audience to a place and time where the journey begins. It brought to mind the kinetic energy of an early David Drake whose word, movement, and focus defined his performance.

“Not as Cute as Picture” at the The Duplex Read Review>

A slice of gay life or for that matter any selective lifestyle is the scenario that plays out in J. D. Cerna’s solo show “Not as Cute as Picture” taking the stage at the historic Duplex in Greenwich Village. Rather than the common coming out or coming of age drama this falls more into the finding myself category in which Cerna plays himself and a multitude of other colorful characters. The show opens with some powerful energy and slick choreography from the disco eighties that delivers the audience to a place and time where the journey begins. It brought to mind the kinetic energy of an early David Drake whose word, movement, and focus defined his performance.

“Jackie” Women’s Project Theater at New York City Center Stage II Read Review>

Men (the male of the species, not the generic ‘humankind’) are often (always?) quite a burden to carry when they are among the living. Post mortem, these same men are often (in perpetuity?) even more of a burden to carry - for the living who remember them and for the dead who must share either Paradisio or Inferno with them. The burden of Jack, Bobby, and Ari – their weight, their load – was difficult for Jacqueline Bouvier-Kennedy Onassis while they all shared the mortal frame. That load remained heavy after all shared their disparate journeys through the morgue. The Women’s Project Theater production of Elfriede Jelinek’s “Jackie,” currently playing at New York City Center Stage II, is the story of the burden placed upon the former First Lady by these men (and some women) and the burden she accepted from them – willingly and otherwise.

“Belleville” at the New York Theatre Workshop Read Review>

“Homey: The boys, the ones you not only like, but trust. Term of endearment towards another signifying closeness. Examples: You homeys got my back, right? Hey, you will always be my homey.” (Urban Dictionary)

Star-crossed homeys Abby (Maria Dizzia) and Zack (Greg Keller) transfer their struggling marriage of five years from the United States to Belleville, a colorful multi-ethnic neighborhood of Paris known for its community of artists and musicians and its leftist political base, believing Paris will work its fabled charms and provide a healing balm for the couple’s troubled waters. In the opening scene, Zach tells his French-Senegalese landlord Alioune that he believed “Paris [would be] a cure for all [Abby’s] whatever.”

“On the Head of a Pin” at 59E59 Theater B Read Review>

When people want to express the total pointlessness of something, they sometimes say that thing is as silly as "arguing over how many angels could dance on the head of a pin." The familiar phrase is also a rather cynical description of what might be considered a tedious concern with irrelevant details. For Caliban (a civilian version of Taliban perhaps), the civilian contractor overseeing operations at Fathoum Prison in Iraq, it is pointless to tell the truth. Worrying whether prisoners are tortured during interrogation is a tedious concern with irrelevant details: what matters to Caliban’s onsite manager Kathleen Crane (Jen Tullock) is that her untrained and unprepared interrogators get what she needs to secure convictions. Breaking down Sarah Kennedy (Emily Fleischer) who wants to blow the whistle on what goes on at Fathoum is also an irrelevant detail even if it results in Sarah committing suicide.

Parker Scott and Wells Hanley – “No Expectations” at the Metropoitan Room Read Review>

The trio of talent at The Metropolitan Room on Monday February 25, 2013 - Parker Scott, Wells Hanley, and Rubin Kodheli – creates a synchronicity of sound that outreaches perfection. There are times when the voices coming from these three sources are indistinguishable and easily could be one voice. We have said almost all that can be said about Parker Scott’s voice and his unique interpretive skills: the adjectives compound and sometimes serve to show simply the paucity of our critical vocabulary.

Kevin Dozier – “Love’s Never Lost” at the Metropolitan Room Read Review>

There was so much talent on the stage of the Metropolitan Room for Kevin Dozier’s “Love’s Never Lost” CD Launch that Kevin quipped, “I have no room to move.” Kevin’s new CD, produced by Paul Rolnick, features arrangements and musical direction by Alex Rybeck. Kevin said “The songs I’ve selected are about the many stages of love. They range from Edward’s and Raleigh’s ‘Wonderful! Wonderful!’ and Ann Hampton Callaway’s ‘Perfect’ to the first commercial release of Ahrens and Flaherty’s ‘Love’s Never Lost’ from their musical ‘A Man of No Importance’ and ‘Hold to My Hand ‘ an original song by Carol Hall and Alex Rybeck.”

“Clive” – The New Group at the Acorn Theatre Read Review>

In The New Group’s spellbinding production “Clive” at the Acorn Theatre, Clive the protagonist does all he can to avoid redemption (going in at the door), including forfeiting his soul. Unlike Faust, Clive sidesteps selling his soul to the Devil; instead, he destroys whatever he perceives his soul to be. More like Saint Sebastian, Clive is a martyr, in Clive’s case a martyr for the cause of antinominianism. Clive is indeed exempt from the obligations of moral law. Clive’s soul is repeatedly shot through with the arrows of unbridled yearning until he is bereft of hope, bereft of the self who was/is Clive. Or perhaps Clive is whatever the Devil might be, selling his self to himself. 

“Children of Paradise – A Play with Mime” at the Theater for the New City Read Review>

“Children of Paradise,” Richmond Shepard’s new play being performed at the Theater for the New City, is a combination of several mime pieces seen in the film version of the same name and the life story of Baptiste Gaspard Debureau the famous pantomime who performed in France during the 19th century. The spoken dialogue in the script provides information about Debureau’s character, demeanor, and lifestyle offstage while the intricately choreographed mime pieces examine the true brilliance of his craft. 

“It’s Only Love” – An Evening of Broadway Love Songs at the Metropolitan Room Read Review>

If the opportunity returns next year, plan to spend Valentine’s Day at the Metropolitan Room. Make dinner reservations early in the evening and head over to the Room for dessert and drinks and experience love songs performed - as they were this Valentine’s Day - with a dash of grace, and style, and panache. On this Valentine’s Day, nine talented Broadway and Cabaret performers shared the love songs they cherished in “It’s Only Love” – An Evening of Broadway Love Songs.”

Danny Bolero, Bernard Dotson, and Tom Gamblin – whose “Boys Night Out” played at the Metropolitan Room in January 2013 – performed solo songs.

“All the Rage” at the Peter Jay Sharp Theater Read Review>

As the twenty-first century moves forward, events national and global have not only raised mortgage rates, the rate of unemployment, the amount of the national debt, and the level of bickering in the United States Congress but also has raised the level of national, global, and personal rage. That level of rage is apparent in the experience of many in this decade except one: Martin Moran seems to dodge the vicissitudes of rage and chronicles his experience with rage in his new “All the Rage” currently playing at the Peter Jay Sharp Theater in New York City.

David Brenner at the Metropolitan Room Read Review>

David Brenner returns to New York City in his Homecoming Performance at the Metropolitan Room. The Metropolitan Room is the location of the original Gotham Comedy Club, where Brenner performed regularly in his early years. In a tour de force ninety-minute performance, Mr. Brenner laces the engaging story of his iconic career in comedy with an avalanche of humor that buries the audience in delightful laughter, delicious memories, and daring darts and the powers-that-be.

"All in the Timing” at 59E59 Theater A Read Review>

In his seventeenth-century poem “On Time,” John Milton envisions humankind’s triumph over “envious Time.” Milton writes, “When once our heav'nly-guided soul shall clime, / Then all this Earthy grosnes quit, / Attir’d with Stars, we shall for ever sit, / Triumphing over Death, and Chance, and thee O Time.” Time (and all its vicissitudes) is the subject of “All in the Timing” currently running at 59E59 Theater A in New York City.

Under John Rando’s thoughtful and collaborative direction, the engaging ensemble cast of David Ives’ original six “All in the Timing” plays is able to achieve a remarkable level of artistic excellence. Ives’ six one-act plays employ existentialism, romanticism, wordplay, and a bevy of rhetorical devices to demonstrate how timing teases almost every aspect of life: dating; language; human encounters; humor; even humanity’s understanding of things eternal. And, of course, the plays demonstrate how success in the theatre is often achieved through actors’ understanding of timing.

Carole J. Bufford: “Body and Soul” at The Metropoitan Room Read Review>

Often blending the velvety vibrato of Edith Piaf with the physicality of Judy Garland, Carole J. Bufford creates a unique and savvy song styling with which she graces the Metropolitan Room in her new “Body and Soul” which plays at the iconic Room on Wednesdays through February 27.

Exhibiting a marvelous clear tone and vocal quality, impeccable (and often unique) phrasing, and a remarkable understanding of a song’s lyric and the ability to interpret that understanding, Ms. Bufford successfully breezes through her program of fifteen songs that deliciously stretches the boundaries of The Great American Songbook.

Pia Zadora – “Back Again and Standing Tall” at the Metropolitan Room Read Review>

The iconic Pia Zadora returned to the New York stage on Thursday February 7, 2013 at the Metropolitan Room for the first of five performances of her new show “Back Again and Standing Tall.” Ms. Zadora is indeed back with the feeling of celebrity status in a room filled with clicking cameras and adorned in glittering Hollywood style sequins to deliver her Vegas style show that simply does not fit into the New York cabaret scene. As for standing tall, both she and her performance fall terribly short. She entered the room at the Metropolitan cursing at her band and demanding they re-start her first number “Pick Yourself Up.” Jerome Kern and Dorothy Field probably gave an ethereal gasp from beyond when Ms. Zadora flung the “F” word at Vinnie Falcone her pianist and musical director. 

“The Man Under” at 59E59 Theater C Read Review>

Everyone in Paul Bomba’s “The Man Under,” currently running at 59E59 Theater C, is either in need of being saved (Jeff) or needs to be a savior (Martin), is skilled at being a confessor (Martin again) or is a practiced penitent (Jennifer), is either into holding hands and cuddling (Jeff) or into asphyxiophilia (Lisa). Any or all of these character traits combined with the appropriate conflicts could drive an interesting plot.

“Collision” at the Rattlestick Playwrights Theater Read Review>

In the Amoralists Theatre Company’s World Premiere of “Collision” currently running at Rattlestick Playwrights Theater, Grange collides with his new roommate Bromley, Professor Denton one of his instructors, and Doe a fellow student he fancies to bed with. As Grange collides with each of them he sets a variety of situations in motion and causes each person to erupt with unfamiliar and uncomfortable emotions. Each strikes with disgust or revulsion which causes further emotions to surface. All of this colliding ultimately results in a synchronicity of “parasitic oscillations” that shocks the senses and stirs deep feelings and rattles the chains of a Pandora’s Box of catastrophe.

Theatre Uncut at the Clurman Theatre Read Review>

Theatre Uncut is a United Kingdom based activist theater group that was established in 2011 to encourage people to think, talk and take action on injustices that they see happening in the world around them. In 2012, the group asked playwrights from Greece, Syria, Spain, the United States, Iceland and the United Kingdom to pen short dramatic responses to the political and economic challenges facing their own countries. These plays premiered at the 2012 Edinburgh Festival Fringe. “Theatre Uncut” in New York features the New York premieres of a selection of these plays that look at how the everyday person deals with the state of global capitalism, the effects of austerity, the Eurozone Crisis and the Occupy movement. Audiences are invited to join in a dialogue about the issues raised by the plays at the end of each performance.

“The Truth Quotient” at the Beckett Theatre Read Review>

Fiction with themes of artificial intelligence and the manufacture and sale of androids is not a new genre. On that surface level, Richard Manley’s “The Truth Quotient” is not unique. What becomes unique is the play’s focus on the more subtle theme of motivation: the motivation of the manufacturer of the androids and the motivation of those who purchase the technology. Rachel, the company’s representative and omniscient concierge, reminds her customer and the protagonist of the play David that he needs to have faith in “our commitment to make you feel loved and wanted,” something David did not feel with his original set of parents or with his estranged brother Donald.

“Bethany” at New York City Center Stage II (New Home of the Women’s Project Theater) Read Review>

In Laura Marks’ “Bethany,” currently playing at the New York City Center Stage II, protagonist Crystal faces a series of important and life-changing decisions as she attempts to regain custody of her five-year-old daughter Bethany who has been taken from her after Crystal lost her job, her home, and was living with Bethany in her car.

Bethany is Crystal’s child’s name and – in Christian literature – a biblical village that was the home of Mary, Martha, and Lazarus. It is the village where Jesus lived after leaving Jerusalem and from which he purportedly parted from his disciples at the Ascension. In Aramaic ‘Bethany’ means ‘poor house’ or ‘house of misery.’ ...

Peter Marshall: “And Then She Wrote” at the Metropolitan Room Read Review>

Peter Marshall became a household name as host of the ever popular game show Hollywood Squares. The successful turn was due in part to his multi talent as a singer and actor. He utilized his experience on Broadway and television to guide his on the spot responses and quick wit as he conversed with his celebrity guest stars. This talent cannot be more evident than in his latest cabaret show “And Then She Wrote” which played to appreciative audiences at The Metropolitan Room. Joined by Grammy nominated Denise Donetelli and Juno nominated Carol Weisman, these three artists pay homage to the contributions of woman songwriters to the American Songbook that span ten decades.

“Midsummer [a play with songs]” at The Clurman Theatre Read Review>

After tackling the problem of evil in his successful 1978 “When Bad Things Happen to Good People,” Rabbi Harold Kushner addressed existentialism, particularly the meaning of life, in his 1986 “When All You've Ever Wanted Isn't Enough: The Search for a Life That Matters.” This latter title could easily be the subtitle of Daniel Grieg’s “Midsummer” currently playing at The Clurman Theatre in Manhattan.

Lauren Fox - "Canyon Folkies: Over the Hills and Under the Covers" at The Metropolitan Room Read Review>

If you were around during the folk-rock evolution or have any interest in this amazing period in musical history, an evening with Lauren Fox at The Metropolitan Room is mandatory. Not only is her pure and unique tonal quality reminiscent of some of the great talents of that time but also her knowledge of the artists living in Laural Canyon, the epicenter of this incredible musical eruption, is informative, interesting and perfectly integrated into this well-structured show.

Ms. Fox is accompanied by Ritt Henn on Bass, Peter Calo on guitar and musical director Jon Weber on piano and keyboard. These four musicians do not play the music; they become the music and successfully transfer the audience to another time and place ...

Marci Kraft: “Singing Again for the First Time” at Don’t Tell Mama Read Review>

Marci Kraft’s auspicious appearance at Don’t Tell Mama Cabaret is a great beginning for a vocalist making her performance debut. Ms. Kraft is a Vice President and Assistant General Counsel at The New York Times and realizes her dream to sing on a cabaret stage with “Singing Again for the First Time” an extensive review of 1920’s and 1930’s songs from The American Songbook.

“The Wonderful Wizard of Song” at St. Luke’s Theatre Read Review>

There is no doubt that it is fitting to pay tribute to and celebrate Harold Arlen one of the most influential and important composers of the Great American Songbook. His unique and interesting expressive style has graced stage and screen for decades. Arlen’s collaboration with some of the best lyricists created a phenomenal range of songs that continue to pay tribute to his legacy. “The Wonderful Wizard of Song” now playing at St. Luke’s Theatre is a valiant attempt by the 3 Crooners, Marcus Goldhaber, George Bugatti and Joe Shepard to accomplish this daunting task, especially given their choice to feature the enormous talent of Antoinette Henry to get the job done. Each of the crooners is vocally capable of delivering their songs in their solo turns and together they produce some interesting and pleasant harmonies. ...

“City Love Song: Home” at 59E59 Theater C Read Review>

Storyteller Jack Finnegan begins his travelogue with a rhetorical snapshot of a few minutes outside his building in New York City. This image, he claims, glorifies the interconnectedness of cultures and values extant in his neighborhood and reflects the common character of the people who love this urban home as much as he does. He uses this story as a springboard for his larger purpose; namely, to share for the third time his collection of anecdotes from his national and – this time – international travels. 

“Boys Night Out: The Music of the Rat Pack” at the Metropolitan Room Read Review>

The group of actors known as The Rat Pack has a long history from the early days (1960’s) of Humphrey Bogart and Lauren Bacall until the 1980’s when three of the members (Martin, Davis, and Sinatra) appeared together for the last time in film in “Cannonball Run II” and the same trio staged their ill-fated revival tour which ended after only four performances. Whichever configuration of the pack one identifies with, the one most familiar to audiences and fans is the one celebrated in “Boy’s Night Out: The Music of the Rat Pack:” Frank Sinatra, Dean Martin, and Sammy Davis, Jr. 

“The Chess Lesson” at the IRT Theater Read Review>

Sari Caine’s “The Chess Lesson” is a delightful trope for humankind’s inveterate attempt to understand “how things came to be.” Was there a creation? If so, was it a “big bang” or a divinely orchestrated event? Were there rules governing that creation? Did humankind “disobey those rules? Whose rules were/are they: those of some divine being or rules created by humankind itself? What happens when rules are broken? And can humankind – even in brokenness – return to its idyllic “pre-Fall” state?

“Marilyn by Request” at the Metropolitan Room Read Review>

Cabaret legend Marilyn Maye extends the celebration of the New Year with five glorious performances at the Metropolitan Room in Manhattan. Joined by Billy Stritch (piano), Tom Hubbard (bass), and Warren Odze (drums), Ms. Maye dazzles her fans for ninety remarkable minutes with her unique blend of song stylist, lyricist, and shaman.

"Flipside: The Patti Page Story" at 59E59 Theater A Read Review>

Google ‘flipside’ and cumulate a variety of search results: from the online fantasy manga/comic to the burger and bar restaurant in downtown Fairfield. The term as it refers to the B-side of a vinyl record is rarely used today with the advent of CD’s, the iPod, and other mp3 players. 

“Soldier” at HERE Read Review>

Recent Williams College graduate Jonathan Draxton tackles weighty matters in the world premiere of his “Soldier” in New York City at HERE. This tightly wound fifty minute production challenges the audience to question when one who has committed heinous crimes against humanity has demonstrated the level of remorse that warrants forgiveness and reconciliation. These are perhaps questionably attainable qualities for the phantasm of Nazi soldier Heinrich Weiss and the ghosts of his soldiers all who lost their lives at the hands of the Russian army at Stalingrad. However, Mr. Draxton who portrays Officer Weiss, challenges each of the twenty-five audience members to hear his story, believe that he and his men were indeed “animals” and hand over the coins needed to ferry him and his men from purgatory to an underworld that will perhaps proffer redemption and release from their war crimes of the past.

"P. S. Jones and the Frozen City" at the New Ohio Theatre Read Review>

What would result from collaboration between William Butler Yeats, T. S. Eliot, the multiple authors or sources behind the Pentateuch, Julie Taymor, the Trinity, John Wayne, Cain and Abel, Walt Whitman, Robert Frost, a host of other luminaries, and the genius of Robert Askins and Jose Zayas? None other than the winning offering from the terraNOVA Collective “P.S. Jones and the Frozen City” currently running at the New Ohio Theater. This gem might easily have a future much like another play from years past.

"13 Things about Ed Carpolotti" at 59E 59 Theater C Read Review>

The stars of Barry Kleinbort’s “13 Things about Ed Carpolotti are Virginia Carpolotti, her intriguing daydreams about her deceased husband Ed, and her imaginary piano-playing and singing friend. These three stars are better known as, respectfully, Penny Fuller, the book by Barry Kleinbort, and pianist Paul Greenwood.

“Working” at 59E59 Theater B Read Review>

Jimmy Carter was President of the United States in 1978 when Stephen Schwartz’s “Working” opened on Broadway at the 46th Street Theatre in New York City. The national unemployment rate then was 6.1%. Remarkably, after spiking at 9.6% in 2010, the “New York Times” (December 7, 2012) reports the jobless rate is edging down “to its lowest rate in four years at 7.1 %. The strength of “Working” is not its deconstruction of the issues of unemployment and politics; its power lies in the musical’s successful exploration of the meaning of and the tradition of work itself and of those who perform that work. Indeed, the subtitle of Stud Terkel’s  1974 “Working,” upon which the musical is based, celebrates the work people do all day and “how they feel about what they do.”

“Bare” at New World Stages Read Review>

I have taught in urban high schools for the past eight years and have heard many stories from many students about being bullied and have been asked many important questions about coming out by LGBT students. One of the most touching queries came at an open house for middle school students trying to decide which high school to attend. After several questions about availability of Advanced Placement classes, number of science labs, and homework policy, a diminutive eighth-grader fixed his gaze upon mine and asked simply, “Will I be safe at this school?” As much as I wanted to offer him reassurance, I could not and chose to proffer a list of school policies about bullying instead.

“A Civil War Christmas” at the New York Theatre Workshop Read Review>

Paula Vogel’s “A Civil War Christmas” is a profound and uplifting story of the events that occur in the nation’s capitol (and other locations) on Christmas Eve in 1864. A group of actors addresses the audience, and then dons the costumes of a variety of characters including President Abraham Lincoln and Mary Todd Lincoln. Karen Kandel says, “Welcome to our story. The season is upon us, and whether it’s Christmas, Hanukkah, Kwanzaa or New Year’s—it’s a time when we feel our connection to a larger community.”

“A Summer Day” at Cherry Lane Theatre Read Review>

Like her spirit-sister Penelope, the Older Woman in “A Summer Day” waits patiently and anxiously for the return of her “man of the sea” Asle who left one rainy, windy autumn afternoon many years ago on his Odysseus-like epic journey of self-discovery. Jon Fosse’s “A Summer Day” chronicles one day of remembrance for this woman who years ago watched her partner in life walk away from their house on the bay, never to return.

“Forever Dusty” at New World Stages Read Review>

There is more than one reason to see “Forever Dusty” the new musical now playing at New World Stages. First and foremost are the songs made famous by the legendary Dusty Springfield who broke stride and followed a controversial career in the music industry. Next is listening to Kristen Holly Smith who brings to life the voice, style, and image of this iconic songstress. Last but not least is the stunning performance of Christina Sajous as Dusty’s longtime companion Claire whose vocal turns shatter the stage. All of this is supported by a fully capable and talented cast and makes for an enjoyable evening of entertainment.

“Skin Tight” at 59E59 Theater C Read Review>

Inspired by the iconic poem “The Magpies” by New Zealand poet Denis Glover, Gary Henderson’s “Skin Tight” leans heavily on the human heart as it rehearses the vicissitudes of human life, particularly the lives of Elizabeth and Tom who are preparing, perhaps in Tom’s memory, for the ultimate gift one human can give to another: preparing one’s lover‘s body for burial.

Baby Jane Dexter: The Rules of the Road at The Metropolitan Room Read Review>

Baby Jane Dexter steps onto the stage of The Metropolitan Room on the first evening of her current nine-show run with the confidence and grace that have become hallmarks of this cabaret legend. Most accomplished vocalists use their physical instruments to create what becomes their signature “style.” Baby Jane Dexter sings with not only her vocal instrument: she also sings with her entire body, mind, and spirit. In fact, there are times when her vocal “instrument” includes her musical director Ross Patterson. It is sometimes difficult to discern where voice and accompaniment diverge.

“The Outgoing Tide” at 59E59 Theater A Read Review>

When the tide goes out on the Chesapeake Bay, danger lurks for the living creatures left behind: vulnerability for the myriad of clams washed up on the shore that become “fresh seafood” in prestigious local Delaware restaurants; and double jeopardy for the humans left with raw emotions and hidden agendas strewn along the beach.

Jennifer Sheehan at the Metropolitan Room Read Review>

One of the most significant elements of Jennifer Sheehan’s return engagement to the Metropolitan Room with her show appropriately titled “I Know A Place: Spend A Night in the 60’s is its ability to embrace the lyric written during that era. That decade which lived up to the familiar phrase “musical revolution” produced a collective of paramount artists that transitioned from pop to Motown, the British invasion, the Beatles, soft rock, and folk rock. The era’s music that captured joy and optimism and subsequently faded into a searching lyric that questioned human nature, ended with a pulse of anger as poets’ words were sung in protest of a nation at war. 

"No Fear Shakespeare's Richard III" at the 4th Street Theatre Read Review>

Barnes & Noble’s “No Fear Shakespeare” is a successful series of Shakespeare’s plays which provide not only the complete text of each original play but also “a line-by-line translation that puts Shakespeare into everyday language.” Countless middle school, high school, and college students have used the series for a thorough introduction and exposition of Shakespeare’s works. The “translation” is not meant to replace students’ grappling with the original text but a vehicle to approach the often difficult text of the original without fear and to make the text more accessible.

"Don't Go Gentle" at the Lucille Lortel Theatre Read Review>

When Dylan Thomas’s father was nearing death, the poet wrote in his now famous villanelle, “Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light.” After rehearsing how wise, good, wild, and grave men “burn and rave” at the close of their days, Thomas encourages his father to “Curse, bless, me now with your fierce tears, I pray.” Whatever occurred during their history, at the time of his father’s death, Dylan Thomas welcomed his father’s rage and anger, and cursing in addition to any paternal bestowed blessing.

“Bare: The Musical” - Preview and Interview Read Interview>

Set in a co-ed Catholic boarding school, “Bare” explores the subject of teens exposed to the issues of identity, sexuality and religion. With provocative lyrics and a thrilling rock score, the musical demonstrates how today’s generation is forced to navigate, for the first time, the tightrope between adolescence and adulthood and how far they will go to keep their world intact. 

“In The Summer Pavilion” at 59E59 Theater C Read Review>

“In the Summer Pavilion” ends as it begins with recent Princeton graduate Ben unclothed, vulnerable, uninhibited, unfettered addressing the audience (the universe) in captivating prose poetry. However, Ben is not the same at the end of the play as at the beginning: he has been transformed by multiple excursions into possible futures with two of his closest college friends, Clarissa and Nabile.

“Untying Love” at TADA! Theater Read Review>

Peggy Willens’ “Untying Love,” currently running at TADA! Theater, is more about the dynamics of family systems than it is about Carolyn’s death at a free-standing hospice facility. Indeed, the setting listed in the program (“in the kitchen of an American house”) might have served the characters and their conflicts better than a hospice facility. For this drama is a poignant recounting of what occurs when even one member of a family system undergoes self-initiated or event-initiated change.

Eric Comstock and Barbara Fasano: “The Night Has a Thousand Eyes” at The Metropoitan Room Read Review>

The return of Eric Comstock and Barbara Fasano to the Metropolitan Room with their new show “The Night Has a Thousand Eyes,” affords New York audiences a chance to embrace the remarkable collaboration of two seasoned performers who have stood the test of time and have become an important thread in the vibrant tapestry of the cabaret scene. They are an integral part of delivering The American Songbook, earnestly committed to honest interpretation and unique phrasing that enhances the music while personalizing the lyric. As solo artists they have distinctive qualities that attribute to their success. Together they merge, sharing their style and musical prowess to create entertaining duets that sustain the original compositions. Mr. Comstock has an unparalleled pure tonal quality and perfect annunciation which respects the lyric and allows you to wallow in the melody and appreciate the accompaniment. Ms. Fasano has a theatrical flair when approaching the material that takes the audience on an emotional journey with taunting expressions and a sexy, sultry timber similar to the great caberet divas of the past.

Interview with cast of “Spring’s Awakening” at TBG Theatre Read Interview>

Joseph and I saw the Marvell Rep production of Frank Wedkind’s controversial “Spring’s Awakening” at the TBG Theatre in Manhattan and were deeply impressed by the uniformly professional performances given by the entire cast and particularly by the young cast portraying the lead roles of the play. We formulated five questions for these cast members and include their astute and thoughtful responses in the interview which follows. The play is scheduled to complete its run on Sunday November 4 and we encourage every reader to make the effort to see this remarkable show with uncommonly outstanding performances as soon as possible. Our review of the show is available here and ticket information is included at the end of the interview.

"God of Vengeance" at TBG Theatre Read Review>

The Torah is clear: the second book Exodus contains the following dictum: “I, the LORD your God, am a jealous God, punishing the children for the sin of the parents to the third and fourth generation of those who hate me.” No wonder Yankl Chapchovich arranges with Reb Elye to have the scribe make a Torah Scroll for his daughter Rivkele in Sholem Asch’s “God of Vengeance,” currently running at TBG Theatre as part of Marvell Rep’s “2012 Burned and Banned” series. Yankl is convinced that living above and running a brothel with his wife Sore would qualify as “hating God,” especially since Sore was a former “worker” in the brothel and he needs to appeal to God’s better nature to save his daughter.

"5 Lesbians Eating a Quiche" at The SoHo Playhouse Read Review>

The New Colony’s production of “5 Lesbians Eating A Quiche,” now playing at the SoHo Playhouse, is a fun and frolicking farce with delightful and serious undertones. Its themes relate to current political and social issues and make for an enjoyable 70 minutes of good theater. The metaphors and innuendoes abound and are as vivid and colorful as the cast of characters gathered for the annual Quiche Breakfast of The Susan B. Anthony Society for the Sisters of Gertrude Stein. Though deliciously irreverent at times, the play is not offensive or harmful but evokes provocative humor that is well conceived and well delivered.

"Spring's Awakening" at TBG Theatre Read Review>

When I first saw the musical “Spring Awakening “Off-Broadway in June 2006, I was not impressed. I thought then, and continue to believe, that Duncan Sheik and Steven Sater sterilized Frank Wedkind’s provocative text and substituted substance with an endearing rock musical score. I saw nothing new, nothing innovative, and nothing challenging. Obviously I was misguided: after its move to the Eugene O’Neill on Broadway in December of the same year, the musical garnered eight Tony Awards and four Drama Desk Awards. Unwilling to be completely isolated from Broadway bravura, I listened to the rock-infused alternative rock score and kept my thoughts on the musical as a whole to myself. Until now.

"Closer Than Ever" at The York Theatre Read Review>

The York Theatre Company received a Special Drama Desk Award for its vital contributions to theatre by developing and producing new musicals. Since May 2011, however, York has chosen to celebrate Off Broadway musicals that have previously been produced starting with Nancy Ford and Gretchen Cryer’s “I’m Getting My Act Together and Taking It on the Road” (1978) and ending with the current offering Richard Maltby, Jr. and David Shire’s “Closer Than Ever” (1989).

“North” at 59E59 Theater B Read Review>

Now playing at 59E59 Theater B, Jennifer Schlueter’s “North” fictionalizes an historical event: the brief meeting between Anne Morrow Lindberg and Antoine de Saint-Exupery in New York City at the Ritz Hotel on August 5, 1939. In the drama, after meeting Antoine de Saint-Exupery, Anne Morrow Lindbergh reflects on her intense emotional response to the meeting by asking herself, “Are you going to look back all your life to an hour’s conversation with a stranger?” Like Kate Chopin’s “The Story of an Hour,” “North” deals with the hour-long “story of a woman’s life and ordeal.” 

Loni Ackerman – “Next to Abnormal” at The Metropolitan Room Read Review>

It was a pleasure to see Loni Ackerman return to The Metropolitan Room for an encore performance of her delightful, somewhat autobiographical show ”Next To Abnormal.” A consummate performer and veteran of the Broadway stage, Ms. Ackerman adds a personal touch to a well structured evening, weaving stories from her childhood in New York City and anecdotes of her show business escapades into the tapestry of thoughtfully chosen songs. She brings what is important in her life now to the stage rather than just recreate the past, which enables her to connect with the material and inspire the audience. 

"Fruit Fly" at The Cherry Lane Theatre Read Review>

There is nothing like a romp through an extended metaphor when Leslie Jordan has created the trope. Mr. Jordan’s brilliantly funny “Fruit Fly,” currently running at The Cherry Lane Theatre as part of The All for One Theatre Festival, extends the identification between Jordan and his mother Peggy throughout the ninety-minute extravaganza of ethos, pathos, and sheer hysterical fun.

Leslie Jordan’s testimony to the terror, trials, and triumph of coming out works because he makes it clear that he “has been there and done that” and challenged all things maternal and nurturing: boy choirs, boy camps, boys in general, and his poor mother’s frustration at understanding some of those escapades. Jordan’s appeal to authority and experience works.

"The Exonerated" at The Culture Project 45 Bleecker Street Read Review>

It has been ten years since “The Exonerated” opened in New York at the Culture Project’s 45 Bleecker Street Theatre and brought to the stage the ongoing scrutiny of the American judicial system and its inability to administer justice with exactitude and fairness. Unfortunately, not much has changed since 2002 for those who are innocent and on death row.

"You Want Me To Do What?!?" at The Cherry Lane Theatre Main Stage Read Review>

An amazing opportunity presents itself to experience the wonderfully uplifting performance by Mary Lou Shriber in her new musical “You Want Me To Do What?!?” now playing at the Cherry Lane Theatre as part of the All For One Festival. There are quite a number of accomplishments to admire as you listen to Ms. Shriber reveal her past and celebrate her present through informative dialogue and heartfelt song. Granting her father’s dying wish that she become a nurse and fulfilling her own dream of a career as an actor are certainly rewarding accomplishments. Having the intelligence and personality to do both very well is notable, but to have the essence of each career collide and explode into an emotional exploration of her life is a remarkable achievement. Her compassion and respect for patients as a nurse is transferred to the stage with ease, assuring the audience of her honesty and integrity.

"Belgrade Trilogy" at the 4th Street Theatre Read Review>

Being able to see and review “Belgrade Trilogy” was an important event for me. This review will be more personal than any that I have written. Normally, critical reviews are written in the third person and the critic keeps professional distance from the performance being reviewed. It is difficult to keep that distance after visiting Belgrade and driving through war-torn streets of Serbia and Croatia. It is especially difficult after sharing a meal in a Croatian home with a woman who wonders every day if her young husband will return home from his job as a sweeping and demining the landmines left from the 1991 – 1995 war. To listen to her hopes for the future, for the time when Serbian children and Croatian children would again play together and grow together has remained a daunting memory.

"The Anderson Twins Play the Fabulous Dorseys!" at 59E59 Theater C  Read Review>

Alfred E. Greene’s 1947 film “The Fabulous Dorseys” chronicles the lives of prominent jazz-swing musicians Jimmy and Tommy Dorsey. The Anderson Twins, Peter and Will, play the Dorsey brothers in an exhilarating evening of music with the same moniker as the film.

"Hard Times: An American Musical" at the cell  Read Review>

By any standard, these times – our times – are hard times. Individuals and groups of individuals find their way through hard times in a variety of ways: perseverance, ingenuity, luck of the draw, or serendipitous surcease. Those who gathered at Nelly Blythe’s Five Points saloon needed all of those ways to overcome the racism, sexism, and classism of 1863 New York City.

"Asking For It" at The Cherry Lane Theatre Main Stage  Read Review>

Joanna Rush once again captivates, entertains, and raises audience awareness in her solo show “Asking For It,” part of the All For One Theater Festival in residence at the Cherry Lane Theatre. She inhabits the life of Bernadette O’Connell as “Bernie” endures a strict Irish Catholic upbringing which, unfortunately, does not prepare her for the daunting task of becoming a Radio City Music Hall Rockette or the lurking shadows of evil that accompany this dream when alone and naïve.

"New Girl in Town" at The Irish Repertory Theatre Read Review>

When Anna (Margaret Loesser Robinson) arrives in New York City in 1926 to visit her father Chris Christopherson (Cliff Bemis), she arrives with more than a single valise. She comes from living with relatives in Minnesota and some baggage she would rather not unpack in New York.

"Fly Me to the Moon" at 59E59 Theater B Read Review>

Wee Davey McGhee’s body lies moldering in his grave (bathroom) while his caregivers Loretta Mackey and Frances Shields concoct ways to acquire and then divvy up his assets. Marie Jones’ dark comedy “Fly Me to the Moon” chronicles their capers from Loretta’s shocking discovery of Davey’s bruised dead body to Frances’ final efforts to cover up their blue collar crime.

"Silent" at The Irish Arts Center Donaghy Theatre Read Review>

When the precise and poetic movements of a tattered blanket soiled with a life story are revealed by the glow of a spotlight and surrounded by the depths of silence, it captivates your eyes, kidnaps your mind and holds your heart ransom. As silky white patches of human flesh dance slowly from beneath their shroud you are suddenly immersed in a mystery of evolution. A face appears, beautiful, striking, and haunting, with eyes that pierce your soul with the glimmer of truth. A voice behind a story that dissects a being, peeling away the layers of emotion and mental anguish until you are left with transplanted vital organs that give you a new understanding of life.

"The Eyes of Others" at The New Ohio Theatre Read Review>

In Ivan Dimitrov’s “The Eyes of Others,” The First Man (Evan Zes) and the Second Man (Michael Frederic) spend their one-hour lunch break together downtown on the Square avoiding food and, instead, using the time to ponder the meaning of existence. Their absurdist conversation brings into sharp focus the realities of the somewhat meaninglessness of work, leisure, economy, and future. They chat about moving forward and the importance of being right and how disastrous a hideous death would be. What really concerns these “Everymen” however is the thought of being anonymous. 

"Tender Napalm" at 59E59 Theater C Read Review>

Strains of the Yahwist myth of creation (garden-dwelling Man and Woman) counterpoint contemporary gaming mythos (Sony Computer Entertainment’s “God of War Saga, for example), Marvel Comic’s Super Heroes, and Grimm Brothers fairy tales to construct an understanding of the meaning of life and how to sooth its vicissitudes in Philip Ridley’s “Tender Napalm” currently playing at 59E59 Theater C in New York City.

Interview with Playwright Chris Phillips (FringeNYC 2012 "Pieces") Read Interview>

Chris Phillips’ acclaimed new play “Pieces” recently completed its successful run at the New York International Fringe Festival and has been chosen to be part of the FringeNYC 2012 Encore Series. This prestigious Series is curated by a group of seven professional theatre producers led by Darren Lee Cole, Artistic Director at Teatro Jaco and SoHo Playhouse/Huron Club. Chris Phillips received the FringeNYC 2012 Overall Excellence Award for Playwriting. David Roberts and Joseph Verlezza sat down with Chris recently.

"Auditions, Zoe's Auditions Part 2" at The Drilling Company Theatre Read Review>

Zoe Brown’s journey is one from her “not to be” assessment of herself to understanding that all she needs to do is “be who she is” and “live in the moment.” Zoe has a thankless job at a theatre where everyone is incompetent (except Zoe): the actors are horrid, the product is stale, and no one seems to care much about anything. So Zoe dreams and makes some attempt to better her lot. She hires an agent whose contacts are “mostly dead.” Zoe goes on auditions and rarely takes responsibility to do the right thing: she whines a lot and blames the actions of others for her lateness, her appearance, and her lack of talent. And all of this is precisely what is wrong with Suzanna Geraghty’s “Auditions, Zoe’s Auditions Part 2:” it is difficult to feel compassion for Ms. Geraghty’s character Zoe (played by Ms. Geraghty).

Interview with Actor Nina Millin (Mary Hamilton in "Pieces") Read Interview>

Nina Millin played the role of Assistant District Attorney Mary Hamilton in Chris Phillips’ “Pieces” which recently completed its run at FringeNYC 2012. Nina is reprising that role in the Encore Series run of “Pieces” at SoHo Playhouse. David Roberts and Joseph Verlezza conducted an email interview with Nina.

 

 

"Harrison, TX: Three Plays by Horton Foote" at Primary Stages at 59E59 Theater A Read Review>

Like an awkward young man hoping to find star-crossed love, or a physically challenged young man hoping to find understanding, or a love-sick young man howling at the Harvest Moon, Harrison, TX stealthily and seductively creeps up on its inhabitants demanding answers to hauntingly human questions about the vicissitudes of existence.

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