Gurney and LaBute do what they do, with less spark than ever. Plus: We need more Kaufman & Hart!

Rosebud doesn’t quite get all of Orson Welles, but then who could? Plus: A proposal for a new Tony category.

Passing Strange, at the Public, is this season’s third new musical that—amazing!—actually feels relevant.

On the wordy pleasures of August Wilson’s Radio Golf. Plus: Why are such talented stage actors working in such lame plays?

The Producers is gone; Legally Blonde is here. And maybe it’s time to slow down the Hollywood-to-Broadway conveyor. Plus: LoveMusik’s lovely music.

In Frost/Nixon, Frank Langella gives a surprising dignity to Tricky Dick.

With Christopher Plummer in the lead, Inherit the Wind evolves. Plus: Misbegotten Kevin Spacey.

The Pirate Queen plays out like a parody of bombastic musicals, but a new Oliver Twist is devilishly dark.

Joan Didion’s one-woman show raises the problem of how to be loudly intimate.

A contemporary approach to Shakespeare’s original all-male casting. Plus: Curtains just hangs there.