In Colm Tóibín’s 90-minute monologue “The Testament of Mary,” Fiona Shaw plays a very human Virgin Mary, but director Deborah Warner’s calculated symbolic clutter swamps the text.
Fight director Jared Kirby helps performers and directors of stage and screen tell stories through violence rather than indulging in “action porn.”
“Spring Awakening,” Steven Sater and Duncan Sheik’s 2006 Tony-winning musical based on Frank Wedekind’s 1891 drama, gets a heartbreakingly honest production from La Mirada Theatre.
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.
The Inland Valley Repertory Theatre in Claremont, Calif. is seeking to talent for its production of “Gypsy.”
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.
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 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.