A stunningly versatile Alan Cumming leads us into dark corridors of the human mind in this near-solo staging of Shakespeare’s “Macbeth, from the National Theatre of Scotland.
Mike Bencivenga’s “Billy & Ray,” directed by Garry Marshall for Falcon Theatre, dramatizes the creation of Billy Wilder and Raymond Chandler’s screenplay for “Double Indemnity.”
Paul Downs Colaizzo’s “Really Really,” from MCC Theater, is a glaringly manipulative “Did it happen or didn’t it?” melodrama about contemporary college students behaving badly.
“The Man Who Laughs,” which begins performances Jan. 31 at Urban Stages, offers a host of physical challenges for its actors.
Nalaga’at Theater’s sublime “Not by Bread Alone,” performed by deaf-blind actors, reveals the power of theater to enrich our understanding of humans as innately social beings.
In John Logan’s solo show “I’ll Eat You Last: A Chat With Sue Mengers,” Bette Midler is disappointingly content to reprise her Divine Miss M persona, and Mengers goes missing.
In “If There Is I Haven’t Found It Yet,” Jake Gyllenhaal explores what he thinks is the most important thing: family.
Theatrical press agent Emily Owens on staying on the same page, the importance of having the facts about your show straight, and why connections are important.
National Theatre Live’s broadcast of the stage adaptation of Mark Haddon’s international bestseller “The Curious Incident of the Dog in the Night-Time” is absolutely marvelous.
The hit Off-Broadway parody “Silence! The Musical” gets a take-no-prisoners L.A. premiere at the Hayworth Theatre, with Davis Gaines and Christine Lakin in the leading roles.