Michael Kimmel discusses "The Last Goodbye," a musical adaptation of "Romeo and Juliet" with Jeff Buckley music, and how he collaborates with actors.
Austin Pendleton directs and performs in Mississippi Mud Productions’ account of Tennessee Williams’ “Suddenly Last Summer,” but the barebones presentation is an acting-class exercise.
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.
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.
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.
The Hollywood Fringe Festival, which last year generated some $389,000 for actors and producers, opened its registration window Monday.
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.