Theater Review | 'Deathbed': An Alienated Bunch Not Dealing With Loss
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âDeathbedâ is a coolly thoughtful and taut meditation by the stylish playwright Mark Schultz.
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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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Andrew J. Nemrâs disciplined, likable ensemble manage  to be appealing without being particularly engaging in âWhere the Music Livesâ at the Julia Miles Theater.
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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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In Brett Morgen's documentary about the Chicago Seven, not everyone is flesh and blood.
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Tender and sad, Aaron Katzâs film âQuiet Cityâ is a fully realized work of mumblecore poetry.
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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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Some are unusual but compelling, while others are rather gruesome.
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Playbill - LAByrinth Theatre Company productions frequently reach down into the lower depths of society, and its new offering, Brett C. Leonard's Unconditional, looks to follow in that tradition.
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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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ÂThe Architect,Â written and directed by Matt Tauber from a play by the Scottish writer David Greig, feels like a creaky, tone-deaf classroom exercise in mechanical contrivance.
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A new play by David Hare heads the list of provocative theater in New York.
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Revolutionary or unreadable? The long, strange afterlife of David Foster Wallace's Infinite Jest
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This stage version of Kurt Vonnegutâs antiwar 1969 masterpiece faithfully retains the novelâs pivotal moments. But woe to the spectator unfamiliar with the material.
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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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The Museum of Modern Artâs show is a touching, sometimes melancholy portrayal of Russiaâs architectural ferment and the brutality with which it was ultimately suppressed.
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Religion isnât easy, but itâs rarely looked tougher than it does in this intimate and disturbing film.