Noah Haidle’s “Smokefall,” at South Coast Repertory in a co-production with Chicago’s Goodman Theatre, is a loosely sketched comment on the randomness of an unforgiving universe.
Based on the 2005 film, “Kinky Boots”—songs by Cyndi Lauper, book by Harvey Fierstein, direction and choreography by Jerry Mitchell, and starring a powerhouse Billy Porter—works.
Theatre for a New Audience brings the Young Vic’s “Kafka’s Monkey” from London; Kathryn Hunter’s revelatory performance as an ape turned human is poignant, athletic, haunting, and funny.
Craig Burns and Rachel Hoffman of New York-based Telsey + Company are scheduled to be part of the Foundation’s week-long Summer Performing Arts Intensive programs.
In Jonathan Tolins’ witty “Buyer & Cellar,” at Rattlestick Playwrights Theater, an impish Michael Urie plays a struggling actor who gets an unusual job working for Barbra Streisand.
David Harrower’s “Good With People,” from Scotland’s Traverse Theatre Company, packs rich acting, taut direction, and even a bit of history into 55 minutes of riveting theater.
We need a new and more effective way of talking about the value and power of a degree in the performing arts. Here are three reasons why a degree in theater is important.
Jason Robert Brown has chosen to direct “The Last Five Years,” his 2002 two-person musical about a troubled first marriage, for Second Stage Theatre, and the result is enthralling.
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.