Elisabeth Gray’s undeniably appealing solo show “Southern Discomfort” has yet to discover what it is that makes it stand out from every other actor-generated one-person piece.
Magnussen chatted with Backstage about his worst audition, his fitness regime, and how to get the roles you want.
Tom Hanks makes his Broadway debut in Nora Ephron’s “Lucky Guy,” a breezy but thin account of the life and career of columnist Mike McAlary, displaying potent theatrical technique.
Open Fist delivers a solid production of Caryl Churchill’s 1996 play “Mad Forest,” a fascinating look at Romania’s 1989 revolution, thanks to Marya Mazor’s terrific direction.
The Creative Collection’s production of Craig Wright’s “Orange Flower Water,” which depicts the shattering effect of adultery on families, is diminished by a few weak performances.
Producer-director Prince, who has received 21 Tony Awards over the course of his career, will be feted Sept. 16 at the American Theatre Wing's gala.
Diane Paulus, the artistic director of the American Repertory Theater and director of the Broadway revival of “Pippin,” shares what she looks for in actors.
At the Antaeus Company George Bernard Shaw’s controversial classic “Mrs. Warren’s Profession” gets a new lease on life by focusing on how little has changed in the last 120 years.
In Cornerstone Theater Company’s “Lunch Lady Courage,” a cast of high school students, community members, and professional actors addresses social issues in this Brecht adaptation.
Expertly staged and compellingly acted, “The Sister,” Eric John Meyer’s bleak yet funny fantasia of a play from Dutch Kills, investigates the cruelties of familial relationships.