Ms. Schmidt has certainly made some odd choices for this production that seem to work against the power of the story. The staging is quite severe and stagnant which intrudes on the romanticism of the plot.

Mr. Love’s focus here is the Black queer HIV+ community. It isn’t meant to connect to other communities although it invites a more universal cry for help to end the epidemic and save the Black queer HIV+ community. See it. Do the work.

As Bedlam often demonstrates this is an impressive example of what has become a mantra of the company. It constructs classic theater in a most complicated yet simple manner which is both beneficial to the interpretation of the script while providing a special form of entertainment for their audience.

Veteran actors of screen, stage, and television Harry Hamlin and Stefanie Powers do their best to bring Joshua Ravetch’s “One November Yankee” to the stage at 59E59 Theaters on Manhattan’s Upper East Side.

Broken relationships, family dysfunction, irreversible age-related illness, and loneliness insert themselves uninvited and unannounced into the lives of individuals and families. “Super great” dissolves into the realm(s) of the languorous.

Successful entrepreneurs like Harry (an overzealous but hypersensitive Raúl Esparza) typically attempt to guard their “art” from “commerce” for as long as possible. They feel frightened by the prospect of commercial success overwhelming their sense of artistic integrity. At least that is Harry’s point of view in Theresa Rebeck’s “Seared” currently running in the Susan & Ronald Frankel Theater at The Robert W. Wilson MCC Theater Space.

Harvey Feinstein wisely chooses to “be” Bella Abzug and not simply “portray” her. There are no gimmicks here, no backups, no filters, no frills – just Bella. Mr. Fierstein draws on his skills of connecting with his audience to raise the rich and enduring questions raised by Ms. Abzug’s life and legacy.

The cast is remarkable and even in all respects. Ordinary tasks from baking quiche to making salads almost exist as part of the dialogue, along with the rehearsal of modern dance routines that circle the observers for inspection. This is how the Michaels live.

The characters continue to cascade through the decades – all suffering from those initial injuries of twisting the wrong way (an event not to be taken literally) and becoming fatherless (one of many tragedies that “stifle” growth).

There is no denying that a retrospect on of the life of Albert Einstein and the development of his renowned Theory of Relativity would be compelling and extremely interesting. To present this study in the form of musical theatre is a challenging and difficult task that requires a keen intellectual and creative perspective.

As a whole, “One Discordant Violin” satisfies the theatergoer’s palate with an enchanting story that rings true, is compellingly relatable, and plucks the strings of the heart with cosmic vibrations.

All three actors are admirable and do what they can with the material but the characters and set of circumstances are shallow and implausible.

“Dr. Ride’s American Beach House” does not rise to an epic tale of “queer anti-heroes” forging a pathway to self-acceptance and claiming true power and control. Under Katie Brook’s direction, the cast does what it can to authenticate their character’s conflicts despite the weakness of Liza Birkenmeier’s script.

“Less is more,” could possibly be the mantra of Mr. Doyle’s recent endeavors but this incarnation of Macbeth is more or less distorted and inconsequential. 

This iconic and relevant work is for women, primarily women of color navigating their way through an often antagonistic world, making life-and-death decisions about survival and future.

“Under Leigh Silverman’s impeccable and focused direction, the ensemble cast creates a palette of strong emotions and enduring questions about the future of humankind.”

“Under Danya Taymor’s intuitive and exacting direction, the accomplished cast delivers believable and authentic performances and embodies the characteristics of Yeats’ rough beast with cathartic effect.”

“The competent cast does what it can but cannot transcend the inferior material they have to work with or the haphazard direction by Lonnie Price who usually delivers an exceptional product.”

“The stellar cast is more than competent but seems to have succumbed to the heavy-handed, muddled and indistinct direction of Michael Mayer.”

“It is unfortunate that the work of these two skilled performers are unable – due to the script – to usher the members of the audience into any morally satisfying catharsis.”