A pair of Irish plays examines father-son relationships with a minimum of blarney
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All hail Meryl Streep, whose unprecedented winning streak at the box office will undoubtedly continue with this fetching comedy and give hope for 60-year-old thesps everywhere.
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Ellen Geer and Heidi Helen Davis have adapted Chekhov's classic, updating its setting and language to 1970 on a plantation in Virginia. Lillian Randolph Cunningham and her brother Gates Randolph were monied Virginians who have frittered away the family wealth.
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Charles Mee conveys struggle without regret in his ennobling and lively re-creation of Brooklyn's multicolored streets.
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After four decades of nurturing librettists and songwriters, the Academy for New Musical Theatre makes its maiden foray into the nitty-gritty discipline of putting up a production.
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When you give a characterization your all, it pays off in big ways—even in the eyes of the smallest audience members.
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Henry Murray's debuting play offers intriguing new spins on the futuristic-thriller genre. Exploring the efforts that three teenage boys make to survive in a world decimated by climate changes and other sinister forces, Murray ruminates on the ties that bind us more than we might realize.
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An old couple sleeps, snoring loudly. The husband awakens first and looks at his wife. He gazes at her with love, tenderness, fear, a lifetime of memories—and the audience is quickly engaged.
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Franz Schubert, His Letters & Music
Conceived by Phillipe Calvario and Julia Migenes, directed by Peter Medak, the evening consists of the composer's lieder (he composed the music but not the lyrics) and his letters.
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This fine drama takes familiar material and makes it engagingly fresh.
