Stolen Chair’s “The Man Who Laughs,” an adaptation of a Victor Hugo novel about a freak, is rivetingly rendered by five adept actors in the fashion of a 1920s silent-movie melodrama.
More examination of Molière than scripted event, California Repertory Company’s “Tartuffe Lab,” directed by Eberhard Koehler, is a rollicking, hugely original freeform grab bag.
Signature’s elegant revival of David Henry Hwang’s 1981 “The Dance and the Railroad,” which mixes Chinese opera with building America’s transcontinental railroad, is memorable.
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.
This has been a remarkable journey, which I hope is only the beginning as “Timmy The Great” has a wonderfully universal story. I am blessed with a wonderful cast, a wonderful show, and having a wonderful time.
In “The Whale,” Samuel D. Hunter’s disturbing drama at Playwrights Horizons, Shuler Hensley does tour de force work as Charlie, a dying 600-pound literature professor making amends.
Theatre for a New Audience brings the Young Vic’s “Kafka’s Monkey” from London; Kathryn Hunter’s revelatory performance as an ape turned human is poignant, athletic, haunting, and funny.
The star of Broadway's "Venus in Fur" and the new film "Hysteria" shares his worst audition experience and why a film career caught him by surprise.
Sam Shepard’s “Heartless,” his latest symbolic drama, gets loving attention from Signature Theatre and offers fine performances, particularly from Lois Smith, but still fails to accrete in a persuasive way.
A treasured Broadway tradition, the Gypsy Robe connects casts and ensembles offstage.