(l. to r. foreground) LaChanze (Lady Capulet), Glenn Fleshler (Lord Capulet), Jessica Pimentel (Prince Escalus), Jason Manuel Olazabal (Lord Montague), Mariand Torres (Lady Montague) in Shakespeare's Romeo & Juliet, directed by Saheem Ali, Delacorte Theater. Photo: Joan Marcus. For the second time in two years, a flashy, big-budget Romeo and Juliet has opened in New York that’s so bent on pleasing one particular target audience with shallowly conceived staging gimmicks that i

Daniel Radcliffe in Every Brilliant Thing, Hudson Theatre. Photo Matthew Murphy Once again, the forsythias are in bloom, and that means new openings are arriving way too fast for me to write full reviews on everything I see. Here, then, are some shorter takes, euphoric, admiring, and otherwise. Innocence The Metropolitan Opera Innocence by Kaija Saariaho, libretto by Sofi Oksanen, directed by Simon Stone. Photo: Karen Almond/Met Opera Kaija Saariaho’s Innocence is a haunting

Jon Bernthal as Sonny in Stephen Adly Guirgis's Dog Day Afternoon , directed by Rupert Goold, August Wilson Theatre. Photo: Matthew Murphy and Evan Zimmerman The new stage adaptation of Dog Day Afternoon just opened on Broadway, directed by Rupert Goold, doesn’t seem sure who its target audience is. If you went not knowing the source material (though that’s hard to imagine)—Sidney Lumet’s classic 1975 film about a disastrously bungled bank heist, starring Al Pacino and John