The songs have long been standards, but O’Hara is excited about offering a fresh take on the material.
“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.
Get coached on how to vocally style your audition for shows like “Kinky Boots,” “American Idiot,” and “Rock of Ages!”
Director Deloss Brown’s adaptation of French novelist Stendhal’s complex masterpiece “The Red and the Black,” at the Theatre at St. Clement’s, reduces it to a domestic comedy.
Haaz Sleiman has come a long way from Lebanon, and yet he feels an inherent connection to "Venice," a new musical loosely inspired by Shakespeare's "Othello" and currently playing at TNew York's the Public Theater.
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.
In Jonathan Tolins’ witty “Buyer & Cellar,” at Rattlestick Playwrights Theater, an impish Michael Urie plays a struggling actor who gets an unusual job working for Barbra Streisand.
Del Shores ("Sordid Lives") knew that he needed to make his play "Southern Baptist Sissies" into a film, and on a budget, he created something inventive—a film of the play.
With its shoddy script, floundering cast, and odd blend of banal ballads, jazz, and Japanese tunes, Okada Productions’ “Kikki & Grandpa & Baby” is a perplexing, unaffecting shambles.
Although Frank Winters’ new play of dark deeds in Iraq, “On the Head of a Pin,” at 59E59 Theaters, is protracted and unwieldy, it does indicate a promising if undisciplined talent.