Theater Review | 'The Shape of Metal': Art Is Sometimes Easy, but Lifeâs Another Story
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Roberta Maxwell is so magnificent as an aged sculptor in âThe Shape of Metalâ that itâs easy to see why she would have been drawn to this ramshackle work.
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Death, beauty and the persistence of art are the vast topics addressed in Heddy Honigmannâs frustrating documentary âForever.â
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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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When the Public Theater offered its top artistic job to Oskar Eustis, Mr. Eustis accepted it. That was the easy part.
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Amy Foxâs sensitive new play nicely captures something of the loneliness and childlike joy of letting your imagination wander.
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Verdiâs talent for penetrating melodies goes a long way toward explaining why so flimsy a drama manages such potency in a strong performance.
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The American Museum of Natural Historyâs show is enlightening, yet frustrating:  It presents a free-flowing flood of data and has an overly insistent and predictable message.
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âA Mighty Heartâ is effectively fashioned, as jolting as it is polished, as well as a surprising, insistently political work of commercial art.
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âFabrik: The Legend of M. Rabinowitzâ is a modest yet powerfully affecting production that takes puppetry to impressive heights.
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A new arts festival tries to show why political theater doesn't have to taste like medicine.
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Even charming, chiseled-faced actors can have it tough.
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Jordan Harrison turns fragments from the life of Leni Riefenstahl, the filmmaker who made movies for Hitler, into a story that is funny and thought provoking and even a little touching.
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The new comic drama by Donald Margulies is steeped in a spirit of acceptance, yet does not make the familiar seem fresh.
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Thereâs no money in it, but community theater is far from amateurish.
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The Museum of Modern Artâs elegantly plain exhibit of Georges Seuratâs drawings reveals the process behind his impeccable, stylized paintings.
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Life hardens us and art desensitizes us. Is the culture of violence turning us into creatures without empathy? Commentary by Tony Long.
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Mike Leighâs play âTwo Thousands Yearsâ is enjoyable, but oddly conceived and structured.