Theater Review | 'Gray Area': Kidnapping a Theater Critic, or Every Playwrightâs Dream
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The first act of this play is so funny that at the intermission youâll be saying to yourself, âThey canât possibly keep this up.â And youâll be right.
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The fall season is unusually rich in new plays by American writers.
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Although most people know South African John Kani as a longtime veteran of the theater and a 1975 Tony winner for his lead role in "The Island" by Athol Fugard, this time around Kani has turned playwright with the brilliant "Nothing but the Truth" (a West Coast premiere).
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If ever a play required a reading list, Tom Stoppard's ÂCoast of Utopia" is it. So letÂs get started.
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Playwrights may censor themselves more after violent protests forced a British theater to cancel a Sikh play and drove its author into hiding, actors and directors believe.
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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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ÂIt Goes Without Saying,Â Bill BowersÂ zestful and endearing one-man show at Rattlestick Playwrights Theater, is a classic story of growing up gay in an emotionally repressed 20th-century American family.
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A once-lost work by Tennessee Williams reveals the young playwright writing about his love life without disguise or subterfuge.
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Oren Safdieâs new play about playwriting and generational conflict is sweetly amusing, if dramatically limp.
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The new show from the creators of the long-running âDe La Guardaâ is another entry in a dependable if not exactly venerable genre: theater for people who donât really like theater.
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Good, bad or indifferent, one-act plays have been flooding the city's stages.
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While Leo Tolstoyâs play remains an intriguing curiosity, more interesting than good, it should be a must-see for students of Russian literature.
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A gray area pervades everything in Karachi, from big questions about the countryâs direction to the smallest details of life.
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Mr. Allen's unrelentingly glum drama at the Atlantic Theater Company about defeated dreamers in 1950's Brooklyn is filled with gloomy clichÃ©s.
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Caryl Churchill's stunning new play is a gripping dramatic consideration of what happens in a world where people can be cloned.
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Can a newspaper maintain editorial independence under the shadows cast by its publisherâs conduct?
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Ken Urbanâs new play is mystifying and frustrating. But there are satisfying elements in the production, which are rendered with wit and feeling by the versatile cast.