A more confused and confusing, pseudo-profound and flagrantly pretentious play than Lisa Kron’s “In the Wake” would be hard to imagine.
Jules Romains’s “ Doctor Knock, or the Triumph of Medicine ” (1923) is as funny as a play can be. It’s also as scary as a play can be. The Mint Theater Company’s New York production does full justice to both aspects.
There are serious literary figures who consider Odon von Horvath, the Austro-Hungarian playwright and novelist, the equal of Bertolt Brecht , despite his brief biography.
Broadway’s silliest, most immature character is starring at a theater named for its ultimate sophisticate.
David Mamet’s 1977 “A Life in the Theatre,” its title winkingly lifted from Stanislavsky, is revived, this time on Broadway, with Patrick Stewart and T.R. Knight.
Back in 1953, two young British writers, John Osborne and Anthony Creighton, wrote the play “Personal Enemy.”
Jonathan Tolins’s “Secrets of the Trade” is an accomplished comedy-drama about life and love in the theater. It may be a trifle predictable for the cognoscenti, but it is literate, polished and witty.
A sometimes spectacular, sometimes merely over-the-top Al Pacino stars as Shylock, the relentlessly insulted yet exploited moneylender called “the Jew” by his Christian tormentors.