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.

“Love Actually? The Unauthorized Musical Parody” charms its way into your heart from the second you can take lobby photos with the iconic cue cards from the movie, and from there it only continues to spiral into a zany, enthusiastic flurry of Christmas-themed fun. “

“Coal Mine has a winner here.  It’s riveting, revealing, and reeling with emotional understatements. ‘Between Riverside and Crazy’ is going to sell out quickly so rush to get a ticket.”

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.

It’s a bit of “Fast and Furious” meets “West Side Story” with a “Romeo and Juliet” spin and tortuous “Saw” scenes rolled into one. Seeing the titillating new Cirque du Soleil live action show R.U.N. appeals to audiences ages 16 and over.

Millennial Poison Theatre Company’s production of “Constellations” delivers a supremely intimate, unique and engaging performance. Together, cast and crew unlock access to a powerful, visceral experience which is as thought-provoking as it is captivatingly entertaining.

Burkett kept wiping his forehead and brow as the nearly two-hour show is quite a workout for him. But I was in awe of his formidable stamina …

When a play took my breath away and gave me goosebumps mere minutes into the opening night performance, I knew I was in for something special.

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.

At times, the banter is funny as hell. It’s also harshly visceral which made me cringe and reminded me of similar word play dialogue in David Mamet’s ‘Glengarry Glen Ross’. I found some of the twists Mr. Sherman’s script took were a tad jarring at times, but they did make sense as the plot progressed further.

“Burgeoning into ‘the ribald’ with a dash of ‘the raunchy’, ‘The Unconventional Holiday Revue’ cast gifts us some unconventional holiday fun ranging from Justin Trudeau’s brown face to Don Cherry’s infamous ‘you people’ which still baffles me why there is this continued interpretation on social media sites.”

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.

“Lyric Stage continued its robust season celebrating the power and presence of women with a charming production of “Mirette.” Together, cast and crew delivered a vibrant, crowd-pleasing, show well complemented by the grandeur of the historic Majestic Theatre in downtown Dallas.”

“What a joy to see a show specifically geared to children and their families. And what a gift to give yourselves and your families this Christmas/holiday season.”

“And what of this Toronto premiere production? For me, it was hit and miss. I so desperately wanted to feel a thorough connection for the two hours, but I didn’t.”

“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.