Michael Kimmel discusses "The Last Goodbye," a musical adaptation of "Romeo and Juliet" with Jeff Buckley music, and how he collaborates with actors.
One of the creators of STOMP, Luke Cresswell, discusses how they keep the percussion show fresh for audiences after 20 years.
James Lapine and Stephen Sondheim’s 1994 Tony Award–winning musical “Passion” suffers under John Doyle’s dry, overintellecutalized, slackly paced direction at Classic Stage Company.
A possible touring version of the Broadway musical resurrects safety questions.
“It’s a Wonderful Life: A Live Radio Play,” Anthony E. Palermo’s 60-minute re-imagining of Frank Capra’s classic 1946 film, at the Irish Repertory Theatre, is a holiday keeper.
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.
Betsy Wolfe discusses how she's learned to trust her instincts in Roundabout Theatre Company's revival of "The Mystery of Edwin Drood."
In “Seminar,” from Center Theatre Group at the Ahmanson and starring Jeff Goldblum, Theresa Rebeck proves again that she can fashion clichés into an interesting, commercial story.
Long Beach Playhouse has a disaster on its hands with David Lindsay-Abaire’s first play, “Fuddy Meers,” a Christopher Durang–like comedy that stubbornly refuses to come to life.
Director Anne Bogart and SITI Company fail to bring the necessary drive and energy to “Trojan Women (After Euripides),” at BAM, yielding a staid and artificial production.