In “Scandalous,” Kathie Lee Gifford’s flimsy, expository musical about the life of evangelist Aimee Semple McPherson, Carolee Carmello works miracles in a must-see performance.
At its best, “Giant,” Sybille Pearson and Michael John LaChiusa’s adaptation of Edna Ferber’s sweeping 1952 novel of Texas, at the Public Theater, is compelling musical theater.
Julia Jordan and Juliana Nash’s sex-fueled new rock musical “Murder Ballad,” at Manhattan Theatre Club’s New York City Center Studio at Stage II, is electric with energy.
Francine Volpe’s new drama “The Good Mother,” at the New Group, is convoluted and uninvolving, save for Mark Blum’s hypnotically fascinating turn as a troubled therapist.
"Boardwalk Empire"'s Gretchen Mol discusses her return to the stage in The New Group's psychological thriller, "The Good Mother."
When actors are surrounded by bad choices in a theater production, you can choose to treat it as a life experience.
“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.
The 2013 Hollywood Fringe festival will get an additional week of performances, organizers announced.
Songwriter Sam Willmott receives this year's Ebb Foundation Award, which comes with $50,000 and a one-night-only showcase of his work
Names such as Henry Winkler, Cheyenne Jackson, and Alicia Silverstone can’t save David West Read’s cynical “The Performers,” which plays like a square and very bad 1960s sex comedy.