‘Rodgers + Hammerstein’s Cinderella’ Gets Beaned
Douglas Carter Beane’s ambitious but ungainly rewrite of Richard Rodgers and Oscar Hammerstein II’s 1957 TV musical “Cinderella” creates a show at war with itself.
‘Rodgers + Hammerstein’s Cinderella’ Gets Beaned
Douglas Carter Beane’s ambitious but ungainly rewrite of Richard Rodgers and Oscar Hammerstein II’s 1957 TV musical “Cinderella” creates a show at war with itself.
‘Belleville’ Keeps Us on the Outside Looking In
The talented Amy Herzog hits a snag with “Belleville,” at New York Theatre Workshop, which falls uneasily between thriller and drama and doesn’t resonate beyond its specifics.
'Henry IV, Part 1' Best for First Timers
The Pearl’s perfectly serviceable production of Shakespeare’s “Henry IV, Part 1” is slightly outshone by its sets and costumes and the company’s gleaming new permanent home.
'Mommune' Can't Decide What It Wants to Be
Dorothy Fortenberry’s “Mommune,” from Chalk Repertory Theatre, about delinquent mothers and staged in a real daycare center, is an unusual but uncertain theatergoing experience.
'Rise and Fall of a Teenage Cyberqueen' Deserves a Like
Lindsay Joy Murphy’s well-acted “Rise and Fall of a Teenage Cyberqueen,” from LabRats Theater Company, has an unclear point of view about the Internet’s effect on family life.
‘The Graduate’ Looks Good but Fails to Pass
Terry Johnson’s flawed 2000 stage adaptation of “The Graduate,” based on Charles Webb’s 1963 novel and Mike Nichols’ 1967 film version, misses the mark at Long Beach Playhouse.
92-Year-Old Drama 'The Detour' Surprises and Compels
“The Detour,” Owen Davis’ observant 1921 take on the American Dream, at Metropolitan Playhouse, is being led by a should-be-seen performance from Michelle Eugene.
'As You Like It' Joyfully Celebrates the Art of Theater
“Accessible” has become a dirty word where Shakespeare is concerned, but the Acting Company’s production of “As You Like It,” at the New Victory, exuberantly livens up the Bard.
There’s potential in Diane Glancy’s “The Bird House,” from Native Voices at the Autry, but predictability and a surfeit of characters curtail the play’s chances of success.
'The Madrid' Actor Seth Clayton on Becoming Equity and Working With Edie Falco
Clayton chatted with Backstage about working with Falco, discovering his acting passion, starting his own theater company and gaining professional status as an actor.