Theater Review: Les Miserables
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The Los Angeles version of the megamusical "Les Miserables" is a stunning and compelling production: an artful blend of story, music and staging.
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This strange, beautiful play by Jorge Ignacio CortiÃ±as is set in that hazy place between the person you are and the person you want to be, or could be, or are in danger of becoming.
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The History Boys by Alan Bennett is named best new play in the Critics' Circle Theatre Awards.
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The men from Neil LaBute's new work discuss what they really thought about the way the play depicted male psychology. Their verdict? It's scarily dead on.
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Between January and June there will be 12 plays opening on Broadway. For those who like their words unsung, itâs a beautiful thing.
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New plays by Michael Murphy and John Patrick Shanley explore the reaction of church members to suspected sex abuse by priests.
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David Greig's new play is more pedantic than discomfiting, despite the ugly immediacy of the events it portrays.
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Though all involved do good work, Phantom isn&#39;t really a great filmâWeber&#39;s show is all spectacle, no substance, a pop opera for the massesâbut it&#39;s great entertainment.
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The new production of Maeterlinckâs play at Urban Stages suffers from common genre maladies like heavy-handed messages, overly black-and-white plot elements and unimaginative fantastical elements.
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In London, new productions of âOthelloâ and âMuch Ado About Nothingâ reveal a common theme: loveâs susceptibility to deception.
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When a character who is talked about but never seen is the most interesting figure in a drama, is that a problem? It is for Chad Beckimâs new play.
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Jonathan Marc Shermanâs play, while agreeably acted and directed, feels like an internal monologue distributed among four characters.
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The Metropolitan Operaâs current production of âCarmenâ offers a kind of tension: between the essential actions of the story and the gaily bustling pageantry of Franco Zeffirelliâs 1996 staging.
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Memory is a twisting knife in âFollies,â Stephen Sondheim and James Goldmanâs beautiful, broken-hearted musical from 1971.
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While âThe Maddening Truthâ is fascinating as a character study, its weakness as a play is the paucity of dramatic conflict.
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A profound and affecting old play about World War I offers a portrait of men in combat, without polemics
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The sixth film version of âThe Phantom of the Opera,â Gaston Lerouxâs enduringly popular musical, is literally awash in the Andrew Lloyd Webber music that made it such a mega-hit on international stages.