Original cast member Jeff Hiller brings the Off-Broadway hit “Silence! The Musical” to Los Angeles.
Jeff Sproul’s hilariously campy “Space Captain: Captain of Space!,” from No Tea Productions, employs hokey video effects and a bombastic style to lampoon 1930s sci-fi serials.
The man behind the new indie drama “Blue Caprice” and the Tony-winning revival of “The Gershwins’ Porgy and Bess” knows what actors want—a great story.
Iceland’s Vesturport Theatre combines dazzling acrobatics and dark humor in “Faust: A Love Story,” a striking adaptation of the classic legend, part of the BAM Next Wave Festival.
Playwright Colby Day’s ambitious but uneven spoof “Giant Killer Slugs,” in Theater for the New City’s Dream Up Festival, is best when its 18 actors underplay the comedy.
A treasured Broadway tradition, the Gypsy Robe connects casts and ensembles offstage.
Adam Scott Mazer’s dynamic, but overly gory post-apocalyptic thriller seems to achieve its goal of being an R-rated “action” play with a few gestures toward big ideas about human nature.
The insidious residue of apartheid turns up the heat in Yael Farber’s adaptation at St. Ann’s Warehouse of August Strindberg’s “Miss Julie,” relocated to present-day South Africa.
The first revival in more than 30 years of Paul Carter Harrison’s “The Great MacDaddy” proves the musical’s relevance today, despite Alfred Preisser’s indulgent direction.
In the overstuffed “Isaac’s Eye,” at Ensemble Studio Theatre, playwright Lucas Hnath depicts a 1665 clash between scientists Isaac Newton and Robert Hooke in clichéd modern speech.