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.
3-D Theatricals gives the hit 2002 Broadway musical “Hairspray” an exuberant, explosive, and highly satisfying staging that evokes the innocence of the early 1960s.
Director/writer/performer Ben Rimalower shares how he turned his obsession with Patti LuPone into a hit one-man show.
Erich Bergen and Rachel York display triple-threat musical comedy skills in the national tour of Roundabout Theatre’s Tony Award–winning revival of Cole Porter’s “Anything Goes.”
"Independents," with a book by Marina Keegan, at the New York Fringe Festival, is a beautifully crafted musical about the doubts and fears of 20-somethings.
The star of Broadway's "Venus in Fur" and the new film "Hysteria" shares his worst audition experience and why a film career caught him by surprise.
Annie Q discusses her title role in David Henry Hwang's "Golden Child," onstage now at the Signature Theater.
As a modern update of a venerable genre, Amy Freed’s “Restoration Comedy,” at the Flea, succeeds only partially, but as a freewheeling Tribeca party night the evening is aces.
Charlotte Jones’ tricky 1997 two-character play, “Airswimming,” at the Irish Repertory Theatre, is a small but sparkling gem that gleams with charm, anger, comedy, and sadness.
Upcoming forum “Why Not Asian? Why Asian?” will discuss race politics as they relate to under-represented Asian-American actors in L.A. theater productions.