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.
In Jennifer Maisel’s “The Last Seder,” an overly familiar premise, the dysfunctional-family holiday reunion, is bolstered by a uniformly excellent cast of 11 led by Greg Mullavey.
Theatre Communications Group announced the recipients of grants totaling $225,000 from the MetLife/TCG A-ha! Program, including the Atlantic Theater Company and Oregon Shakespeare Festival.
Jessica Johnson shares how actors can maximize their publicity in theater.
Playwrights’ Arena gives the rarely performed “Euripides’ Helen” the Hollywood treatment, with Rachel Sorsa and Maxwell Caulfield as a Spartan Nick and Nora, at the Getty Villa.
Author-director-actor James Fluhr’s “Our Lady,” a Fringe show about countering homophobic bigotry, is as stunning a piece of performance art as you’re ever likely to encounter.
Donald Freed’s outstanding “Tomorrow,” from Skylight Theatre Company, Rogue Machine, and Britain’s York Theatre Royal, explores the mentor-mentee relationship among three actors.
Starring Carolee Carmello, Gifford’s new musical, “Scandalous,” re-creates the life of legendary preacher Aimee Semple McPherson.
In Mexican playwright Luis Enrique Gutiérrez Ortiz Monasterio’s “I Hate Fucking Mexicans,” at the Flea Theater, the piling on of political incorrectness becomes almost poetic.
Tectonic Theater Company’s “The Laramie Project Cycle,” at BAM, pairs the original 2000 docudrama with its 2009 sequel, “The Laramie Project: Ten Years Later,” to stunning effect.