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.
Get coached on how to vocally style your audition for shows like “Kinky Boots,” “American Idiot,” and “Rock of Ages!”
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.
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.
How to get out of the head and into the body.
New Georges’ ambitious “Goldor $ Mythyka: A Hero Is Born,” based on a true story of a “Dungeons & Dragons”–obsessed couple who knock over an armored car, feels more ADD than D&D.
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.
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.
"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.
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.