I couldn’t have offered anyone a project worth believing in – or characters worth caring about – had I not written something unique to my own fixations.
After 20 years, the Theatre Alliance calls it quits and spreads out its programs to the Walnut Street and Wilma theaters.
“Disgraced,” Ayad Akhtar’s trenchant and treacherous new play, part of Lincoln Center Theater’s LCT3 project, effectively engages uncomfortable issues of race, culture, and religion.
In John Logan’s solo show “I’ll Eat You Last: A Chat With Sue Mengers,” Bette Midler is disappointingly content to reprise her Divine Miss M persona, and Mengers goes missing.
“Flipside: The Patti Page Story,” Greg White’s well-produced portrait of the 1950s singer, with input from Page herself, succeeds musically but falls a bit short as biography.
The Inland Valley Repertory Theatre in Claremont, Calif. is seeking to talent for its production of “Gypsy.”
Dave Malloy’s “Natasha, Pierre & the Great Comet of 1812,” beautifully staged by Rachel Chavkin, drags slightly but offers an insightful musical adaptation of Tolstoy’s “War and Peace.”
Kirsten Holly Smith is Dusty Springfield incarnate in this musical bio, which is ramshackle in dramatic terms but makes for a dandy evening of the singer’s greatest hits.
In 2011, Nikki M. James won the Tony Award for best featured actress in a musical for the role of Nabulungi in “The Book of Mormon.” James spoke to Backstage about putting together her first cabaret.
We spent time in the studio with the creative team behind the musical and chatted with the show’s leads, Derek Klena and Lindsay Mendez, about tips for performing in a studio, how to create onstage chemistry, and what makes working on new musicals so special.