Broderick and O'Hara create a new classic in "Nice Work If You Can Get It," directed by Kathleen Marshall.
Expertly staged and compellingly acted, “The Sister,” Eric John Meyer’s bleak yet funny fantasia of a play from Dutch Kills, investigates the cruelties of familial relationships.
N. Richard Nash’s fanciful “The Rainmaker,” from Henry Jaglom, Rainbow Theater Company, and Edgemar Center for the Arts, is undercut by director Jack Heller’s prosaic production.
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.
The winners of the New York Innovative Theatre Awards share advice for aspiring actors at Monday night's awards ceremony.
Del Shores ("Sordid Lives") knew that he needed to make his play "Southern Baptist Sissies" into a film, and on a budget, he created something inventive—a film of the play.
Keen Company has yet another triumph on its hands with director Jonathan Silverstein’s piercing, beautifully acted production of A.R. Gurney’s 1991 drama “The Old Boy.”
Elisabeth Karlin’s “Bodega Bay,” at Abingdon Theatre Company, an involving dramedy about a young woman seeking her mother, proves an effective vehicle for Susan Louise O’Connor.
New York Stage and Film honors Stanley Tucci and Anne Tatlock at the organization's annual gala on Sunday night in New York.
Jessica Liadsky's "Canon in D Minor," a Fringe entry, overflows with emotion, with three actors playing one grieving heroine, but is nevertheless affecting.