Theater

On Nov. 10, 2007, the lights on Broadway went dark, and all but eight houses on the Great White Way bowed out before the Thanksgiving holiday. The 19-day stagehands’ strike cost the industry tens of millions of dollars each day, and even provoked a Supreme Court hearing led by the lawyer for Dr. Seuss’ How the Grinch Stole Christmas! The Musical.

The trouble with going to see a show for its director is that, unlike going to see a show for a performer, whose presence can be a redeeming quality, the director isn’t actually there. It’s an even bigger problem when an actor diminishes the work of said director—especially when that actor is also the book writer.

At the Payan Theater, the fear of forgetting one’s past resonates throughout Nick Sanzo’s Sunrise at the Quarry.

Rupert Goold’s Macbeth is nothing short of terrifying.

There’s no place like Tamasha, Inc.—it treats its hirees well, encourages diversity, and works not on Wall Street, but on Taal Street. On Saturday, a whirlwind force of energy exuded by an eclectic mix of enthusiastic performers swept the stage in Roone Arledge Auditorium.

Love, marriage, divorce. Complicate the order, add two powerhouse singers, and you’ve got the best musical you’ve never seen.

A theater performance featuring a compilation of stories with no main plot line may seem conceptually dull.

Bam and Bouk do not wear white grease paint or painted smiles.

In the wake of nooses and blasphemous writings on the wall, Liz Flahive’s newest show, From Up Here, resonates with a sense of urgency. Playing at the Manhattan Theatre Club, the story deals expertly with contemporary issues, hitting a viable nerve in our 21st century mentality.

God’s Ear, a play by Columbia University graduate Jenny Schwartz, leaves your head spinning hours after you exit the theater.