Employing Chinese brocades as puppets and featuring films of disappearing ink paintings, “Strange Tales of Liaozhai,” at Here, is visually exquisite but theatrically somnolent.
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.
"First Date" star Bryce Ryness chats about auditions, pre-show rituals, and balancing family and career.
Baldwin, who stars in "Big Fish" on Broadway, chats about working on the project, her thoughts on auditioning, and the key to developing a character.
“Dukus,” Target Margin’s largely successful reworking at the Brick of a 1925 play about a duke who converts to Judaism and embraces martyrdom, is nonrealistic and savagely comic.
The man behind the new indie drama “Blue Caprice” and the Tony-winning revival of “The Gershwins’ Porgy and Bess” knows what actors want—a great story.
Varying skill levels among the actors create an erratic quality that mars this rare production of Corneille’s “Le Cid,” from Storm Theatre and Blackfriars Repertory Theatre.
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.
Hundreds of students took to the Broadhurst Theater stage Monday morning, making their Broadway debut before their peers, educators and supporters, as part of Broadway Junior Celebration.
Dion Millington provides a fresh take on Effie White, but director-choreographer Keith Lee Grant can’t do the same for Harlem Repertory Theatre’s production of “Dreamgirls.”