The Tony Award-winning musical has turned profitable after only 21 weeks, which is faster than any new Broadway musical in more than a decade.
Zombie Joe’s Underground’s avant-garde stage adaptation of Dostoevsky’s pioneering paean to human indulgence and perversity, “Notes From Underground,” works like gangbusters.
Jonathan Cake’s Benedick emerges victorious in the amorous skirmishes of Theatre for a New Audience’s handsome but unbalanced rendering of Shakespeare‘s “Much Ado About Nothing.”
“Pocahontas, and/or America,” at the Bushwick Starr, is a charming mess of a show that relies upon a homespun aesthetic to examine the role of Native Americans in popular culture.
Our intrepid dispatcher jumps from “Untitled Play About Brecht’s Girlfriends & Boyfriend and Wife” to “Mickey & Sage”
“Donka,” a polyglot European company’s take on Chekhov at Brooklyn Academy of Music, is a fun, surprisingly vital all-ages circus show with a tenuous connection to Russian drama.
At the Antaeus Company George Bernard Shaw’s controversial classic “Mrs. Warren’s Profession” gets a new lease on life by focusing on how little has changed in the last 120 years.
Broadway actors Mo Brady and Nikka Graff Lanzarone share about their new podcast, The Ensemblist.
Terry Johnson’s flawed 2000 stage adaptation of “The Graduate,” based on Charles Webb’s 1963 novel and Mike Nichols’ 1967 film version, misses the mark at Long Beach Playhouse.
P.J. Griffith is preparing to master the Public Theater's stage in the new musical, based on the book by Edna Ferber about a wealthy Texas landowner. Griffith originated the role at the Dallas Theater Center earlier this year.