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Did he or didn't he? If you like a touch of Shakespearean mystery in your drama, check out "Double Falsehood," a play of murky historical origin about betrayal, star-crossed lovers and hidden identities.
When you become part of a couple, you gain your partner's friends and relatives in your life as well. For better or for worse.
Does a tree still grow in Brooklyn? A poignant revival of a musical about struggling upward from poverty reminds us that yes, it can.
Watching a person suffer through gruesome, highly contagious and fatal diseases, only to be revived just before death, seems an unlikely spectator sport.
Sometimes it helps to tackle uncomfortable subjects with humor, and so emerging playwright Kim Rosenstock has written "Tigers Be Still," a wry, dark comedy that looks at two families coping with grief, anger and paralyzing depression.
"Throw the bums out!" — an expression usually associated with baseball or politics — is the threatened fate of those "dead white males" once regarded as sacred giants of Western literature in A.R. Gurney's new comedy, "Office Hours."
Greed disguised as capitalism never goes out of style.
"It's not what I expected," is one of the recurring lines in the inventive "musical travelogue," the Transport Group's creative production of "'See Rock City & Other Destinations."
"Black Angels Over Tuskegee," is a serious history lesson told with humor.
The best way to describe Rachel Axler's new play, "Smudge," might be to call it a darkly comic tragedy.
Some adults still believe that children should be seen and not heard. But what if that quiet child is writing down every foolish thing the adults are saying and doing?
Oblivion toward the less fortunate, lack of reproductive freedom, and rationing of medical care are just some of the timely themes of Ann Marie Healy's thoughtful new satire, "What Once We Felt," premiering off-Broadway at The Duke on 42nd.
The Idiot Savant asks Marie, "Am I no longer capable of saving us from magic words?" In turn, she asks him, "What makes chosen words — magic?"
A different twist on the eternal search for emotional fulfillment is provided by Jay Bernzweig in his new off-Broadway comedy, "Made in Heaven."
Families of all kinds — biological, theatrical and even ancient Greek — are lovingly lampooned by two Broadway veterans in the zany farce "Love Child."
Clothes don't necessarily make the woman — but they can make a lot of powerful memories.
Beware of a petulant young god burning with vengeance, especially if you've grievously insulted his dead mother and denied his godly existence. This sounds like a simple enough caution, but some rulers of the ancient city of Thebes just didn't get it.
Fathers and sons are a tough matchup.
By the time you find yourself deeply concerned for the welfare of an invisible toddler on stage, you've been reeled in by the wacky humor and impeccable timing of two fast-talking, rubber-legged Australian comics calling themselves the Umbilical Brothers.
It takes a brave person to put their entire family on public display, complete with childhood photos and home movies. Yet that's what Anika Larsen (of "Rent," "All Shook Up" and "Xanadu") does in her energetic, autobiographical musical, "Shafrika, the White Girl."
David Adjmi's "Stunning," which opened off-Broadway Thursday at the Duke Theatre, reveals how suddenly and subtly relationships can shift and power struggles ensue.
Mix American history with teachings from the Bible and Marxist principles, then throw in poetic metaphors about apples, single shoes and laundry to illustrate lessons about racism, friendship, hope and betrayal.
The off-Broadway revival of Norman Corwin's 1959 political drama, "The Rivalry" is quite timely during this 2009 bicentennial celebration of Abraham Lincoln's birth.
It's often said that behind every successful man, there's a woman. In the case of the popular, versatile comic entertainer Danny Kaye, that woman was his wife, the songwriter Sylvia Fine.
Clean dishes in a restaurant are taken as much for granted as those responsible for scrubbing them.
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