Target Margin’s revival of the classic Yiddish drama “The (*) Inn” turns a potentially haunting and emotionally explosive plot into an unaffecting exercise in flat storytelling.
“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.
R.J. Colleary’s “Happy Face Sad Face,” at the Elephant Lillian Theatre, never gets past its underlying gimmick of telling one story two ways: as a comedy and as a drama.
“House for Sale,” Daniel Fish’s adaptation of Jonathan Franzen’s insightful essay on the state of America and selling his late mother’s home, at Transport Group, lacks theatricality.
The Tony Awards are coming up on June 9! Leading up to Broadway's biggest night, we'll be sharing some of our exclusive videos with the nominees as we chat with them about the lessons they've learned along the way.
Roger Bean’s staging of his Christmas-oriented jukebox musical “Winter Wonderettes,” at La Mirada Theatre, is a slick blend of laughs and schmaltz with a peerless cast.
A cursed necklace, a golden cloak, and potions figure in "Grimm," still another conflation of fairy tale stories, one better suited to “Sesame Street” than the stage, at the Fringe.
Not having an idea for a play hasn’t stopped A.R. Gurney from writing one, and the result is the tedious “Heresy,” a limp religious satire at the Flea Theater.
Beowulf Boritt is a Tony Award–nominated scenic designer who has designed sets for “The Scottsboro Boys,” “Grace,” “Chaplin,” “Rock of Ages,” and more. He designed the set for the musical of “Little Miss Sunshine,” which is playing at Manhattan’s Second Stage Theatre.
Starting next year, the University/Resident Theatre Association (URTA) will open its auditions to members of Actors' Equity looking to attend graduate school.