In Jennifer Maisel’s “The Last Seder,” an overly familiar premise, the dysfunctional-family holiday reunion, is bolstered by a uniformly excellent cast of 11 led by Greg Mullavey.
Director/writer/performer Ben Rimalower shares how he turned his obsession with Patti LuPone into a hit one-man show.
Brian Bauman’s “A Crucible,” from Perfect Disgrace Theater, about what happens when a Catholic high school stages the Arthur Miller classic, wants to be edgy but is just dull.
Open Fist Theatre Company’s account of Eugene O’Neill’s “Hughie,” a one-act dating to the early 1940s that was first staged after the playwright’s death, is spare but compelling.
Under director Sean Mathias’ eye playwright Richard Greenberg has adapted Truman Capote’s “Breakfast at Tiffany’s” for Broadway with remarkable fidelity—and that’s the problem.
From screen stars Tom Hanks and Alec Baldwin to stage stars Jeremy Shamos and Bobby Cannavale, there’s something for everyone as shows rush to open in April before the Tony Award eligibility cutoff date.
At South Coast Repertory, director David Emmes gives Alan Ayckbourn’s “Absurd Person Singular” an ideally cast staging, its finger on the pulse of this tragicomic masterwork.
David Henry Hwang’s 1997 Obie Award–winning “Golden Child” returns via Signature Theatre in director Leigh Silverman’s exemplary production featuring a superb ensemble cast.
Starring Carolee Carmello, Gifford’s new musical, “Scandalous,” re-creates the life of legendary preacher Aimee Semple McPherson.
Donald Freed’s outstanding “Tomorrow,” from Skylight Theatre Company, Rogue Machine, and Britain’s York Theatre Royal, explores the mentor-mentee relationship among three actors.