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.
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.