Casting director David Caparelliotis on casting for Broadway and Off-Broadway and finding rappers for a new musical about Tupac Shakur.
After 20 years, the Theatre Alliance calls it quits and spreads out its programs to the Walnut Street and Wilma theaters.
“Hot Mess in Manhattan,” a “Sex and the City”–inspired one-act musical by Cait and Meggie Doyle that’s part of the Araca Project, shows promise and has a sweet but cheeky spirit.
A romantic moment between two male leads and the addition of brief male nudity derail the L.A. Gay and Lesbian Center’s fall production of “Deathtrap,” after playwright Ira Levin's estate revokes the rights.
In “Ingenious Nature,” at SoHo Playhouse, theatrical MC Baba Brinkman takes a too-scientific look at sex and love, and the result comes across as entirely bitter and one-sided.
As Judy Garland in Peter Quilter’s “End of the Rainbow,” at the Ahmanson Theatre, Tracie Bennett eerily recalls the pain of the diva’s last days but misses her admirable qualities.
Benjamin Walker shares how he landed the role of Brick in "Cat on a Hot Tin Roof" and whether the pressure of doing the play is intimidating.
“Old Hats,” an uproarious comic revue at Signature Theatre, stars the superheroes of clowning, Bill Irwin and David Shiner, aided by the enchanting singer-songwriter Nellie McKay.
Freddy Rodriguez talks about returning to the stage in David Mamet's "American Buffalo" and offers strategies for maintaining a long acting career.
Buran Theatre’s splendid and trippy “Nightmares: a demonstration of the Sublime,” at the Brick, is an intriguing sensory echo chamber for freeform ideas about art and authorship.