Betsy Wolfe discusses how she's learned to trust her instincts in Roundabout Theatre Company's revival of "The Mystery of Edwin Drood."
“Other Desert Cities,” Jon Robin Baitz’s latest play, at Center Theatre Group, is comic and plenty political, if overwritten; a couple of key performers fail to hit the bull’s-eye.
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.
Roundabout Theatre Company’s “Cyrano de Bergerac” features a bracingly fresh title turn from Douglas Hodge in director Jamie Lloyd’s tart reconsideration of this romantic classic.
In Doug Hughes’ tough-minded production for Roundabout starring Bobby Cannavale, “The Big Knife,” Clifford Odets’ gimlet-eyed look at selling out, wreaks harrowing emotional devastation.
“Tuck Everlasting,” “Aladdin,” “and “Jekyll & Hyde” are premiering out of town on their way to Broadway.
Writer-performer Colman Domingo’s convoluted new play “Wild With Happy,” at the Public Theater, plays on stereotypes and has little if any coherent dramatic structure.
Patrick Stewart, Ian McKellan, Daniel Craig, Rachel Weisz and Cherry Jones take on classic plays on The Great White Way; Elizabeth Olsen and Julie Taymor tackle Shakespeare Off-Broadway; Norbert Leo Butz leads new Broadway musical offerings.
“The Flick,” Annie Baker’s deliberately anti-theatrical drama at Playwrights Horizons about the banal existence of employees of a rundown cinema, can’t sustain at three hours plus.
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.