Aléna Watters, a Broadway actor who is featured in Stephanie Riggs’ new documentary “The Standbys,” offers her advice for Broadway understudies.
Christopher Durang is in an autumnal mood with “Vanya and Sonia and Masha and Spike,” a lovely, generous, and very funny new comedy at Lincoln Center Theater about aging and regret.
Belarus Free Theatre paints a devastating portrait of a city scarred by a totalitarian regime in “Minsk, 2011: A Reply to Kathy Acker,” an electrifying Under the Radar entry.
Everybody say yeah! The Cyndi Lauper tuner “Kinky Boots” pulled what many saw as an upset over the West End hit “Matilda” for the best musical trophy at the 67th annual Tony Awards at Radio City Music Hall on Sunday night.
There’s so much that’s right about director James Lapine’s joyous revival of “Annie” that it’s particularly painful to have to note the one element that isn’t working.
Jake Gyllenhaal talks about finding a fresh way of doing things for his upcoming movie "End of Watch" and his American stage debut in "If There Is I haven't Found It Yet."
Buran Theatre’s splendid and trippy “Nightmares: a demonstration of the Sublime,” at the Brick, is an intriguing sensory echo chamber for freeform ideas about art and authorship.
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.
Chaim Potok’s hit novel “My Name Is Asher Lev” makes an uneasy transition from page to stage, but Gordon Edelstein’s sure direction and commanding performances smooth out the bumps.
Stephen Adly Guirgis’ ruthlessly funny “The Motherf**ker With the Hat,” about love, fidelity, and substance abuse, gets an expertly acted staging from South Coast Repertory.