Theatre for a New Audience brings the Young Vic’s “Kafka’s Monkey” from London; Kathryn Hunter’s revelatory performance as an ape turned human is poignant, athletic, haunting, and funny.
Under director Sean Mathias’ eye playwright Richard Greenberg has adapted Truman Capote’s “Breakfast at Tiffany’s” for Broadway with remarkable fidelity—and that’s the problem.
Baldwin, who stars in "Big Fish" on Broadway, chats about working on the project, her thoughts on auditioning, and the key to developing a character.
Director Deloss Brown’s adaptation of French novelist Stendhal’s complex masterpiece “The Red and the Black,” at the Theatre at St. Clement’s, reduces it to a domestic comedy.
ReGroup Theatre’s production of “Big Night,” Dawn Powell’s 1932 comedy, can be seen as either brave or foolhardy. The too-young performers seem mostly to be in over their heads.
“The Flick,” Annie Baker’s deliberately anti-theatrical drama at Playwrights Horizons about the banal existence of employees of a rundown cinema, can’t sustain at three hours plus.
Jessica Johnson shares how actors can maximize their publicity in theater.
With its shoddy script, floundering cast, and odd blend of banal ballads, jazz, and Japanese tunes, Okada Productions’ “Kikki & Grandpa & Baby” is a perplexing, unaffecting shambles.
With “Forbidden Broadway: Alive and Kicking!,” creator, writer, and co-director Gerard Alessandrini returns after a three-year sabbatical sharper and funnier than ever.
Get coached on how to vocally style your audition for shows like “Kinky Boots,” “American Idiot,” and “Rock of Ages!”