The American premiere of Katori Hall’s “Children of Killers” at the Castillo Theatre examines the Rwandan genocide and its aftermath, but it doesn't add much to our understanding of the atrocities.
There’s so much that’s right about director James Lapine’s joyous revival of “Annie” that it’s particularly painful to have to note the one element that isn’t working.
How to get out of the head and into the body.
Sam Shepard’s “Heartless,” his latest symbolic drama, gets loving attention from Signature Theatre and offers fine performances, particularly from Lois Smith, but still fails to accrete in a persuasive way.
Center Theatre Group leads pack with 29 nods, followed by Celebration Theatre and Musical Theatre West with 16.
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.
"Mad Men" star and Back Stage subscriber Rich Sommer explains how improv helped his career and admits he's "freaking out" about his upcoming Broadway debut.
A possible touring version of the Broadway musical resurrects safety questions.
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.
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.