Quiara Alegría Hudes’ Pulitzer-winning “Water by the Spoonful,” at Second Stage Theatre, is an admirable but flawed attempt to engage important issues of addiction and redemption.
Comedian Desiree Burch’s powerful “Tar Baby” puts race at the center of a grotesque and fantastic sideshow that is much more than just a comic riff on the black experience.
MCC Theater’s annual Miscast gala, featuring Jane Krakowski, Cheyenne Jackson, and Jonathan Groff, will be held March 4.
Michael Matthews and Michael A. Shepperd have been brought in by the West Hollywood-based LGBT playhouse to share the role of artistic director.
This week’s Backstage cover star Benjamin Walker shares how he approaches his role in Tennessee Williams’ “Cat on a Hot Tin Roof” and the best advice he has for actors.
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.
“Beyond Dark,” from the Odyssey Theatre Ensemble, is a fascinating if uneven blacked-out theatrical experience full of fun, unexpected curves, with genius sound by John Zalewski.
Carrie Coon, who plays Honey in the Broadway revival of “Who’s Afraid of Virginia Woolf?”, calls Gary Oldman's performance in "Sid and Nancy" " ... so out there."
“Grimly Handsome,” writer-director Julia Jarcho’s elegant jumble of a play, from Incubator Arts Project, is not without its charms but fails to cohere, despite an exceptional cast.
Buran Theatre’s splendid and trippy “Nightmares: a demonstration of the Sublime,” at the Brick, is an intriguing sensory echo chamber for freeform ideas about art and authorship.