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.
This oblique play by the Debate Society escorts audiences into the unforgettable world of a unique 1950s Chicago suburb, gleefully piling on layer upon layer of affecting detail in its set design.
With its shoddy script, floundering cast, and odd blend of banal ballads, jazz, and Japanese tunes, Okada Productions’ “Kikki & Grandpa & Baby” is a perplexing, unaffecting shambles.
Michael Kimmel discusses "The Last Goodbye," a musical adaptation of "Romeo and Juliet" with Jeff Buckley music, and how he collaborates with actors.
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.
“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.
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."
Three years after it closed in New York, the long-running Off-Broadway revue “Forbidden Broadway” is making a comeback. The newest edition, which parodies past and present Broadway musicals, opens Sept. 6 for a limited run.
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.
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.