Sam Shepard’s “Heartless,” his latest symbolic drama, gets loving attention from Signature Theatre and offers fine performances, particularly from Lois Smith, but still fails to accrete in a persuasive way.
The songs have long been standards, but O’Hara is excited about offering a fresh take on the material.
There’s so much that’s right about director James Lapine’s joyous revival of “Annie” that it’s particularly painful to have to note the one element that isn’t working.
Although Frank Winters’ new play of dark deeds in Iraq, “On the Head of a Pin,” at 59E59 Theaters, is protracted and unwieldy, it does indicate a promising if undisciplined talent.
The documentary "Broadway Idiot" traces the journey of the musical "American Idiot" from conception to Broadway.
Del Shores ("Sordid Lives") knew that he needed to make his play "Southern Baptist Sissies" into a film, and on a budget, he created something inventive—a film of the play.
The American premiere of Katori Hall’s “Children of Killers” at the Castillo Theatre examines the Rwandan genocide and its aftermath, but it doesn't add much to our understanding of the atrocities.
A possible touring version of the Broadway musical resurrects safety questions.
Mike Vogel’s new “comedy with heart,” “March Madness,” is getting a top-notch production from Abingdon Theatre Company that features a first-rate cast led by Tom Mardirosian.
In Jonathan Tolins’ witty “Buyer & Cellar,” at Rattlestick Playwrights Theater, an impish Michael Urie plays a struggling actor who gets an unusual job working for Barbra Streisand.