August Strindberg Repertory Theatre’s well-acted adaptation of “Easter,” about a family trying to redeem itself after its patriarch is jailed, has an all-black cast.
In Daniel Sullivan’s unevenly directed revival of David Mamet’s Pulitzer Prize–winning “Glengarry Glen Ross,” Al Pacino entertains but makes a miscalculation fatal to the play.
Director at the Institute of Outdoor Theatre Michael C. Hardy talks about the benefits, challenges, and craft-strengthening aspects of working in the outdoors.
Despite tour de force work from Gardner Reed and Edwin Cahill, P.H. Lin’s “Zelda at the Oasis,” a two-hander about F. Scott Fitzgerald’s bipolar wife, doesn’t jell or persuade.
Sony Pictures inks a new deal to bring its movies, like "Tootsie," to the stage. Can the film industry giant match its own critical and commercial success on Broadway?
Leigh chatted with us about the lessons she's learned, what it's like following Julie Andrews, and the things she will—and will not—miss.
Clayton chatted with Backstage about working with Falco, discovering his acting passion, starting his own theater company and gaining professional status as an actor.
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.
It’s hard to fathom how Manhattan Theatre Club allowed Liz Flahive’s undercooked comedy-drama “The Madrid,” starring Edie Falco, to get all the way to City Center’s downstairs stage.
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.