In Doug Hughes’ tough-minded production for Roundabout starring Bobby Cannavale, “The Big Knife,” Clifford Odets’ gimlet-eyed look at selling out, wreaks harrowing emotional devastation.
Everybody say yeah! The Cyndi Lauper tuner “Kinky Boots” pulled what many saw as an upset over the West End hit “Matilda” for the best musical trophy at the 67th annual Tony Awards at Radio City Music Hall on Sunday night.
Female superheroes fight for love against Doctor X in Adam Szymkowicz’s “Hearts Like Fists,” a fun, athletic, but overlong comic book of a play from Flux Theatre Ensemble.
In Mexican playwright Luis Enrique Gutiérrez Ortiz Monasterio’s “I Hate Fucking Mexicans,” at the Flea Theater, the piling on of political incorrectness becomes almost poetic.
"Independents," with a book by Marina Keegan, at the New York Fringe Festival, is a beautifully crafted musical about the doubts and fears of 20-somethings.
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.
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.
Playwrights’ Arena gives the rarely performed “Euripides’ Helen” the Hollywood treatment, with Rachel Sorsa and Maxwell Caulfield as a Spartan Nick and Nora, at the Getty Villa.
An unsettling take on an Iraq vet story, James McManus’ new drama “Blood Potato,” from Apothecary Theatre Company, powerfully explores the destruction that’s going on at home.
“Years to the Day,” Allen Barton’s rant-filled bromance from Skylight Theatre Company at the Beverly Hills Playhouse, is talky, often static, and full of predictable moments.