Barry Edelstein could reignite Shakespearean drama in SoCal with his new position as artistic director at the Old Globe.
Blake Ellis recalls working alongside James Carpenter in the San Jose Repertory Theatre's production of "The Dresser."
"Pippin” and “Motown” split the top prizes at the 30th Annual Fred and Adele Astaire Awards, presented at the Skirball Center for the Performing Arts at New York University on Monday night.
Here's a sneak peak of the story, which will be on newsstands and online tomorrow. Cannavale shares his first stage experiences and what he learned from them.
A mixture of ghost stories andWeimarcabaret, “Hanafuda Denki,”Tokyo’s Ryuzanji Company’s adaptation of “The Threepenny Opera,” is sometimes inexplicable but always delightful.
April Lang and Natalie Sutherland give fine performances in Pulitzer Prize winner Donald Margulies’ two-hander “Collected Stories,” a guest production at Odyssey Theatre Ensemble.
“House/Divided,” at BAM from the Builders Association, is a politically potent reflection of America’s identity crisis after the Great Recession that’s smart, alive, and haunting.
With new shows like "Scandalous" and "My Name is Asher Lev" on and Off-Broadway, faith is still taking center stage.
Elisabeth Gray’s undeniably appealing solo show “Southern Discomfort” has yet to discover what it is that makes it stand out from every other actor-generated one-person piece.
“Driving Miss Daisy,” Alfred Uhry’s 1988 Pulitzer Prize–winning drama, is getting a first-rate production at the Sierra Madre Playhouse, skillfully directed by Christian Lebano.