Broadway actors Mo Brady and Nikka Graff Lanzarone share about their new podcast, The Ensemblist.
Gary Lennon’s “A Family Thing,” about a trio of troubled brothers, from Echo Theater Company, relies too heavily on clichés and stereotypes, giving the actors little to work with.
Presented by City Garage with an oddball reverence and dripping with mid-20th-century style, this holiday-themed production of Eugène Ionesco’s “The Bald Soprano” is a real treat.
Versatile leads Harry Hamlin and Loretta Swit carry the NoHo Arts Center world premiere of Joshua Ravetch’s intricate two-hander “One November Yankee” past certain textual overcalculations.
John Hurt takes a laser beam to “Krapp’s Last Tape,” Samuel Beckett’s melancholy slice of the human condition, from Center Theatre Group and Gate Theatre Dublin.
Third Street Theatre’s intimate production of David Yazbek and Terrence McNally’s 2000 Broadway musical “The Full Monty” is charmingly determined though slightly off-kilter.
Stephanie J. Block chatted about "The Mystery of Edwin Drood," and her experience doing shows like "Wicked" and "The Boy From Oz."
Zayd Dohrn’s play, enjoying its West Coast premiere at L.A.’s Harold Clurman Laboratory Theater Company, challenges cast and audience alike on illegal immigration.
Judith Malina’s “Here We Are,” the Living Theater’s final show at its current home, is a hugely engaging combination of participatory avant-garde political theater and summer camp.
The singing in the New York Gilbert and Sullivan Players’ “The Yeomen of the Guard,” at New York City Center, may be its greatest asset, but there is also plenty of charm and humor.