An apt deathly calm informs International City Theatre’s staging of “Ghost-Writer,” Michael Hollinger’s otherworldly tale of a novelist and his secretary circa 1919.
Director-choreographer Lynne Taylor-Corbett mistakes Donna Moore’s “Cougar the Musical,” at St. Luke’s Theatre, for a show of substance, and what should be a frolic lacks oomph.
The Mormon-themed “Missionary in Manhattan,” created by the Ukulele Orchestra of Great Brooklyn and part of the Dream Up Festival, is just an extended comedy sketch with songs.
Dion Millington provides a fresh take on Effie White, but director-choreographer Keith Lee Grant can’t do the same for Harlem Repertory Theatre’s production of “Dreamgirls.”
Playwright Colby Day’s ambitious but uneven spoof “Giant Killer Slugs,” in Theater for the New City’s Dream Up Festival, is best when its 18 actors underplay the comedy.
Theatre Communications Group announced the recipients of grants totaling $225,000 from the MetLife/TCG A-ha! Program, including the Atlantic Theater Company and Oregon Shakespeare Festival.
The casting director of “Chicago” and “La Cage aux Folles” wanted to be on Broadway. A career in casting took him from Canada to the Big Apple and beyond.
Actor-playwright Michelle Ramoni’s “June and Nancy,” a Fringe entry about an extramarital lesbian love affair in 1950s Manhattan, though not uninteresting, is definitely ungainly.
A mixture of ghost stories andWeimarcabaret, “Hanafuda Denki,”Tokyo’s Ryuzanji Company’s adaptation of “The Threepenny Opera,” is sometimes inexplicable but always delightful.
John Stamos, currently appearing in "Gore Vidal's The Best Man" on Broadway, chatted with Backstage about playing the bad guy, working with James Earl Jones, and his future in musical theater.