Brian Stokes Mitchell chats with Backstage about performing characters in the studio, the art of recording, and his five tips for acting success.
Closed since superstorm Sandy hit New York City last week, TKTS’ Downtown Brooklyn ticket booth reopens today.
In “The Whale,” Samuel D. Hunter’s disturbing drama at Playwrights Horizons, Shuler Hensley does tour de force work as Charlie, a dying 600-pound literature professor making amends.
An unsettling take on an Iraq vet story, James McManus’ new drama “Blood Potato,” from Apothecary Theatre Company, powerfully explores the destruction that’s going on at home.
“Black Women: State of the Union—Taking Flight,” at Katselas Theatre Company, is an uneven mix of six new plays, presented by a talented ensemble with personal urgency and passion.
Atlantic Theater Company founding member Mary McCann shares how hard work and determination have supported her life in the theater.
Tracee Chimo talks about working in downtown theater, the pressure to move to Los Angeles, and believing in yourself no matter what.
The Pearl Theatre Company opens its new home with a fun, frolicsome, and freely adapted edition of Beaumarchais’ “The Marriage of Figaro” that holds its own against the famed opera.
“The Long Way Home,” John DiFusco’s personal reminiscence of the creation of the Vietnam memory play “Tracers,” from Rogue Machine, proves that art can provide a perfect way to heal.
“Bad Evidence,” Terry Quinn’s flawed play about dysfunctional, enigmatic relationships at Elephant Space Theatre, is partially redeemed by fine performances and direction.