Stephen Adly Guirgis’ ruthlessly funny “The Motherf**ker With the Hat,” about love, fidelity, and substance abuse, gets an expertly acted staging from South Coast Repertory.
Diane Paulus, the artistic director of the American Repertory Theater and director of the Broadway revival of “Pippin,” shares what she looks for in actors.
Lloyd Suh’s charismatic “Jesus in India,” from Ma-Yi Theater Company, excels by presenting the teenage Jesus of Nazareth as an angsty adolescent punk rocker in first-century India.
Starring Carolee Carmello, Gifford’s new musical, “Scandalous,” re-creates the life of legendary preacher Aimee Semple McPherson.
Playwrights across the world are encouraged to submit their work to the second annual festival, be it play, musical, or puppetry
Writer-performer Colman Domingo’s convoluted new play “Wild With Happy,” at the Public Theater, plays on stereotypes and has little if any coherent dramatic structure.
“Totally Tubular Time Machine,” at Culture Club, is an interactive theatrical experience in a real nightclub that’s part musical revue, part homage to popular music, and all party.
The richly luminous performance of Mariette Hartley as real-life violin virtuoso Erica Morini enriches the West Coast debut of Willy Holtzman’s “The Morini Strad.”
August Strindberg Repertory Theatre’s well-acted adaptation of “Easter,” about a family trying to redeem itself after its patriarch is jailed, has an all-black cast.
Emmy-nominated actor John Stamos, who appeared along side James Earl Jones in "Gore Vidal's The Best Man," says Jones' performance in "Fences" gave him goose-bumps.