For a generation of Russians, Joseph Brodsky was the poet, almost a code-word in the discourse of the intelligentsia, like Nabokov.
In these poems, contemplation, serenity, and service are the order of the day.
The overall effect is one of a genial, superficial club lecture on reading and writing poetry, punctuated by Frost’s Greatest Hits.
Carolyn Michel’s Rose is the sociable stranger on the bus who tempts you to miss your stop so you can hear her out to the end.
Dumas’ Camille is nothing if not ambitious. Such complexity is seldom found on a summer stage.
This review, like the opening night of She Loves Me, is dedicated to the life and work of the late producer Harold Prince.
In two short acts, playwright Win Wells depicts not so much a relationship as a fusion, a merging of identities into one single, complex personality.
Thornton Wilder’s Big Ideas do not get lost in the hurly-burly of this production.
David Lindsay-Abaire’s tightly woven comic script celebrates the everyday relationships that make up an argument for a full life.
A manipulative entertainment that sets out to confuse theater and therapy.