This staging of Maxwell Anderson’s rarely produced 1933 drama concerning a House Appropriations Committee tug-of-war is an engaging ensemble piece with startling parallels to 2012 politics. Especially recommended for Civics class geeks.
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.
Eve Ensler’s “Emotional Creature,” under Jo Bonney’s broad direction, focuses an international lens on the struggles of adolescent women, unearthing the universal in their stories.
Casting director David Caparelliotis on casting for Broadway and Off-Broadway and finding rappers for a new musical about Tupac Shakur.
Logan Marshall-Green talks about playing a role he's longed to play in "Miss Julie," and offers advice for staying vital as an actor.
“Let’s Kill Grandma This Christmas,” Brian Gianci’s “twisted new comedy,” offers tantalizing hints of depth but traffics mostly in one-note characters and tasteless yuks.
John Stamos, currently appearing in "Gore Vidal's The Best Man" on Broadway, chatted with Backstage about playing the bad guy, working with James Earl Jones, and his future in musical theater.
Though it’s atmospherically rich and solidly performed, Adam Rapp’s new play set in a war-ravaged New York ultimately sags under an excess of exposition.
Tom Hanks was one of 12 performers celebrated the Music Box Theatre for enjoying their Broadway or Off-Broadway debuts this season.
Julia Jordan and Juliana Nash’s sex-fueled new rock musical “Murder Ballad,” at Manhattan Theatre Club’s New York City Center Studio at Stage II, is electric with energy.