Though one of Neil Simon’s lesser-known works, “I Ought to Be in Pictures” contains many of his signature touches. Unfortunately, Falcon Theatre’s production is a lackluster effort.
Paul Downs Colaizzo’s “Really Really,” from MCC Theater, is a glaringly manipulative “Did it happen or didn’t it?” melodrama about contemporary college students behaving badly.
“Pippin,” “The Glass Menagerie,” “Love’s Labour’s Lost,” “Mr. Burns, A Post-Electric Play,” and “Bad Jews” have the best ensembles of the year.
Theatrical press agent Emily Owens on staying on the same page, the importance of having the facts about your show straight, and why connections are important.
The upcoming revival of the David Mamet play, scheduled to open Nov. 11 at the Schoenfeld Theater, marks the 30th anniversary of its first Broadway production.
Actors Patina Miller and Michael Urie announced the nominees for the 79th Annual Drama League Awards on Tuesday morning in a ceremony at Sardi's Restaurant.
In “If There Is I Haven’t Found It Yet,” Jake Gyllenhaal explores what he thinks is the most important thing: family.
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.
Nalaga’at Theater’s sublime “Not by Bread Alone,” performed by deaf-blind actors, reveals the power of theater to enrich our understanding of humans as innately social beings.
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.