Overall, “Candlelight” was a beautiful and heartbreaking play about young love and trauma that will leave audiences with feeling of joy and overwhelming sorrow all wrapped up in a beautiful little package. And, despite a few moments that I had questions about, I very much enjoyed it and will be thinking about it for many days after.

“Regardless of its pitfalls it has heart and carries an important message.”

“Director Carol Kane gives Geraldine Hughes the space she needs to tell her story with authenticity and stark believability.”

With breathtaking theatricality, stinging poignancy, biting humor, and deep empathy, The Siblings Play gives voice to multicultural New Yorkers rarely seen on the stage.

Townsend’s performance of the elegy (this is far more than a reading) evidence’s Muldoon’s deep respect and enduring love for the American visual artist Mary Farl Powers who died of breast cancer in 1992 after refusing any treatment.

The anatomy of suicide is larger than life. Playwright Alice Birch and director Lileana Blain-Cruz capture that enormity and the surrounding need for discussion with heartfelt grace and impassioned urgency.

This is certainly a welcomed addition to the current New York theater scene that showcases a brilliant cast and creative team.

The audience seemed to enjoy the production now playing at the Marjorie S. Deane Little Theater entitled “Miss America’s Ugly Daughter” written and performed by Bess Myerson’s daughter Barra Grant.

A new play entitled “The Sabbath Girl” by Cary Gitter is the latest production to take the stage in theater “B” at 59E59, transferring from Penguin Rep Theatre where it had its world premiere.

The question that remains in my mind is why anyone would attempt to create a musical based on the dated 1969 motion picture “BOB & CAROL & TED & ALICE?”

While there’s countless moments to wink and nod at a New York and media-insider audience, “Good Morning New York” succeeds when it slows down long enough to smell the coffee and let the characters connect.

Meet Sarah. She's funny. She's dirty. She's 10. And she's got a secret that you'll never guess (unless you read the title).

“Greater Clements” is a testament to what happens when societal structures and safeguards disintegrate, when mental illness challenges societal and familial norms, and what happens when the ability to cope erodes with out a safety net in place.

The music and lyrics by Mr. Carney and Gary Clark are the spine of this production providing characters with internal structure that is strong and sound always supporting the action. It is a feel-good musical that is neither mawkish nor incredible and strips away extravagance to embellish the fortitude of ordinary people.

The strength of Abbie Spallen’s “Pumpgirl,” currently running at Irish Rep’s W. Scott McLucas Studio Theatre, lies in the playwright’s authentic characters and their believable conflicts that connect to the timeless vicissitudes of the human condition.

There
is nothing new to be learned from this particular production about providing comfort for aging parents, but it may be worth a trip to the theatre just to see these two veteran actors together in nothing more than a sweet dramedy.

The epic new work penned by Stephen Adly Guirgis entitled “Halfway Bitches Go Straight to Heaven” refers to the vast array of residents in a transitional shelter for women on the upper Westside of Manhattan.

Alexis Sheer’s “Our Dear Dead Drug Lord,” in its final days at the McGinn/Cazale Theater, is deeply disturbing and profoundly important. Co-produced by WP Theater and Second Stage Theater, the play explores the shadowy underbelly of the teenage angst of four private secondary school young women with extraordinary perception and frightening accuracy.

The audience connects to the dystopian vision playing out on stage and recognizes that the threat of fascism is always on some horizon in some part of the world, often closer than one would expect or hope.

There is the moon, the train, smoke, explosions, oversized telephones and a sad and emotional farewell. As Act One ends with a little help from the audience, you are captured by their ingenuity, like a spider drawing you into their web.