One of the creators of STOMP, Luke Cresswell, discusses how they keep the percussion show fresh for audiences after 20 years.
With Jordan Dean’s Skipper excised from “Cat on a Hot Tin Roof,” starring Scarlett Johansson, Backstage digs into the contractual ramifications of that choice for the actor.
Steve Yockey’s “Wolves,” at Celebration Theatre, promises thrills and chills and lots of blood but leaves you wondering in more ways than one who is going to clean up the mess.
Andrew Osborne’s hapless new comedy “No Love,” at the Eclectic Company Theatre, lacks reason, a point, and performances and production values that might mitigate its inadequacies.
At Soho Rep, Jackie Sibblies Drury’s “We Are Proud to Present a Presentation…,” about Germany’s virtual extermination of the Herero people of Namibia, is pulse-pounding theater.
Tracee Chimo talks about working in downtown theater, the pressure to move to Los Angeles, and believing in yourself no matter what.
Rob McClure showcases some of his new talents - tightrope walking, violin playing, rollerskating - that he learned for the role.
Director-choreographer Lynne Taylor-Corbett mistakes Donna Moore’s “Cougar the Musical,” at St. Luke’s Theatre, for a show of substance, and what should be a frolic lacks oomph.
Signature’s elegant revival of David Henry Hwang’s 1981 “The Dance and the Railroad,” which mixes Chinese opera with building America’s transcontinental railroad, is memorable.
Lindsay Joy Murphy’s well-acted “Rise and Fall of a Teenage Cyberqueen,” from LabRats Theater Company, has an unclear point of view about the Internet’s effect on family life.