Sort by:
  • News

    Guthrie Theater Ends Fiscal Year With Small Surplus

    Minnesota’s flagship theater shows stability and slight growth after its 2011-12 fiscal year ends with budget surplus.

  • Reviews

    Ethan Lipton's 'Red-Handed Otter' Is Purposefully Anticlimactic

    Playwright Ethan Lipton has his finger on the pulse of humanity, and while “Red-Handed Otter” is not an uplifting story, it’s an honest one.

  • Interview

    8 Ways NYTW Develops Artists and Audiences Alike

    Since 1979 New York Theatre Workshop has been engaging members of the community with challenging, multi-layered theater and a variety of educational programs.

  • Reviews

    Open Up, Hadrian

    “Open Up, Hadrian,” Javierantonio González’s philosophical drama about the Roman emperor staged by Magic Futurebox across 20,000 square feet of a Brooklyn warehouse, is earnest but muddled.

  • News

    Green Is the New Black

    The Broadway Green Alliance is holding a contest for students who practice environmentally friendly theater in colleges nationwide.

  • News

    Cheyenne Jackson Employs a Full Chorus of B'way Hunks for New Video

    In the music video for his new single "Don't Wanna Know," Jackson cavorts and twirls with a slew of Broadway hotties, including Nick Adams and Matt Cavenaugh.

  • Reviews


    Chris Phillips’ “Pieces,” a Fringe drama about the murder of a gay L.A. producer, has muscular dialogue and interesting characters but also believability issues.

  • News

    Winners for Ted Kennedy Prize Announced

    Columbia University and Jean Kennedy Smith announced playwrights Dan O’Brien and Robert Schenkkan as the inaugural winners of the Edward M. Kennedy Prize for Drama Inspired by American History.

  • Reviews

    Disappointing 'Rank' Lacks Tension

    Billed as a “darkly comic thriller,” Robert Massey’s “Rank,” a tale of Dublin taxi drivers and racketeers, at Odyssey Theatre, is neither noir nor funny, despite good acting.

  • Reviews


    Bennett Windheim’s “Normalcy,” from Theatre East, is a thoughtful, generally well-acted look at the subject of transracial adoption written in the mold of an Ibsen problem play.