Theater Review: Belle Epoque
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The prostitutes, cancan dancers and absinthe drinkers of 1890s Paris mingle in decadent beauty in "Belle Epoque," Martha Clarke and Charles L. Mee's impressionistic music-theater work inspired by the life of the painter Henri de Toulouse-Lautrec.
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Thereâsa magic in the Broadway musical that seems to transcend cultural styles and circumstances and generations. Whether breaking new ground or reviving a classic
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Jessica Hecht is in the peculiar position of having been singled out for praise by New York Times theater critic Ben Brantley.
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'Stage Beauty,' about a 1660s actor who plays female roles, is a triumph more satisfying than 'Shakespeare in Love.'
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In Stephen Massicotteâs excellent new play, T. E. Lawrence and Robert Graves are two veterans and it takes no leap of the imagination to translate their World War I experiences into stories from todayâs newspaper.
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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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It was an off-Broadway rave, but this play has more trite than bite
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Even for those who embrace opera as a celebration of excess, it seemed almost a provocation to open the Teatro alla ScalaÂs season on Thursday with an extravagantly lavish new production of ÂAida.Â
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Alfred Preisser, a founder of the Classical Theater of Harlem, has clumsily conflated the Euripides play âTrojan Womenâ with eyewitness accounts from civil wars in Liberia and Sierra Leone.
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Not everyone in Waterloo, Ill., is keen on the idea of a musical that chronicles the destruction of the nearby village of Valmeyer in the Great Flood of 1993.
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The Vineyard Theaterâs rare revival of J. M. Barrieâs elegantly plotted ghost story is an occasion of some interest.
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Oren Safdieâs new play about playwriting and generational conflict is sweetly amusing, if dramatically limp.
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It&#39;s a rare show in the  legitimate theater when the performance is not preceded by a  sepulchral voice reminding you to turn off your cell phone.
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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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Kenneth MacMillanâs âRomeo and Julietâ has proved itself a fluent mixture of dance and acting, absorbing in its response to both Shakespeareâs story and Prokofievâs score.
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Thereâs no money in it, but community theater is far from amateurish.
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In the theater of fashion, every catwalk show is a ten-minute play.