Jim Brochu embodies the actor/painter Sam Mostel to perfection, pulling off this entertaining one-man show.
This Ephron adaptation attempts to use clothing to shape a life the way High Fidelity did with music.
Ibsen’s feminist rebel proves an anachronism in an era of easy credit.
Oren Safdie constructs a satiric comedy out of absurd, avant-garde architecture and a dash of neuroses.
Set in 19th-century Russia, it's not quite Chekhov, but The Forest provides funny moments and rich character.
Sherie Rene Scott shows a touch of humility in an evening designed to showcase her stardom.
Marlis Petersen's voice soars through the Met, doing this opera justice and then some.
In the many instances where the script was intended to deliver situational hilarity, the result is groan-worthy.
The complexities of a mentor-protégée show dramatic promise, but the play fails to deliver the hoped-for payoff.