Michelle Clunie, star of TV's "Queer as Folk" and "Make It or Break It," on the satisfaction of writing her own work, seeing actors bring her words to life on stage, and performing her own pieces. Clunie's new play, "Us," is now running in New York.
Charles A. Duncombe’s “Caged,” at City Garage, is full of sharp, funny, and touching observations about the human species but is more a fascinating study than a compelling drama.
Jennifer Haley’s “The Nether,” a world-premiere technology-gone-dangerous drama from Center Theatre Group, is acted to the nines by Robert Joy, Dakin Matthews, and Brighid Fleming.
Theatre West’s production of Tom Jones and Harvey Schmidt’s “The Fantasticks,” the world’s longest-running musical, is lighthearted and endearing though sometimes wanting vocally.
On Thursday, Backstage spoke with the stars on the red carpet of the "Cyrano de Bergerac" Broadway opening.
Broderick and O'Hara create a new classic in "Nice Work If You Can Get It," directed by Kathleen Marshall.
“Futurology the Musical,” from the Negro Ensemble Company and Paper to Pen Production, is done in by sloppy direction, deadly pacing, and perfunctory-at-best choreography.
Lonette McKee disappoints in Diane Richards’ frustratingly chaotic “Sowa’s Red Gravy,” from Castillo Theatre and New Federal Theatre, about a 110-year-old Harlem-based witch.
America Ferrera dominates the stage in Laura Marks’ “Bethany,” a dark comedy of social commentary at Women’s Project Theater that poses intriguing questions but never quite convinces.
In International City Theatre’s highly satisfying version of Jules Verne’s “Around the World in 80 Days,” adapter Mark Brown and director Allison Bibicoff utilize just five actors.