Rob Mersola’s ultra-black comedy “Dirty Filthy Love Story,” getting its world premiere from Rogue Machine Theatre, lands a load of guffaws, though the gory denouement is a cop-out.
The Production Company’s revival of Lanford Wilson’s seldom-performed 1982 drama “Angels Fall” is filled with exceptional, heartfelt performances under Alex Egan’s direction.
Open Fist Theatre Company’s account of Eugene O’Neill’s “Hughie,” a one-act dating to the early 1940s that was first staged after the playwright’s death, is spare but compelling.
With new shows like "Scandalous" and "My Name is Asher Lev" on and Off-Broadway, faith is still taking center stage.
Actors’ Equity Association will honor the original ensemble of Disney’s “Newsies the Musical” with its sixth annual ACCA Award, the only industry honor for Broadway chorus members.
Joe DiPietro’s bittersweet romantic comedy about love among the geriatric set, “The Last Romance,” at Theatre 40, is well-acted but also slight, bland, and predictable.
Backstage member Tara Battani is a SAG-AFTRA actor who earned her B.A. in theater from St. Edward’s University in Austin, Tex., and has since booked several roles as a result of reading Backstage.
The intrepid Metropolitan Playhouse excavates another gem, “The Boss,” by Edward Sheldon, a 1911 study of rugged individualism run amok that resounds with contemporary echoes.
In the assured hands of director Paul Plunkett and a deft ensemble headed by Ruth Silveira’s soused theatrical doyenne, “The Coarse Acting Show” at Sacred Fools is a riotous satiric romp.
Annie Q discusses her title role in David Henry Hwang's "Golden Child," onstage now at the Signature Theater.