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 “Sideways The Play,” at Ruskin Group Theatre, swilling with overgrown boys in wine country is enjoyable, but we’re left without a satisfying finish.
Lee Pace, who is starring in "Golden Age" Off-Broadway, says Joe Mantello gives a "master class" in acting in "The Normal Heart."
Phillip Hall turns Mark Twain’s memoir “Life on the Mississippi” into an agreeable little musical at WorkShop Theater, featuring a strong all-male cast and an effective score.
Interesting both as American and theater history and earnestly produced, this 80-year-old play becomes turgid over its 105 unrelieved minutes by repetition of its thesis.
Katie Finneran, who stars as Miss Hannigan in the Broadway revival of "Annie," shares what she learned from acting legend Uta Hagen.
Employing Chinese brocades as puppets and featuring films of disappearing ink paintings, “Strange Tales of Liaozhai,” at Here, is visually exquisite but theatrically somnolent.
The Asian American Performers Action Coalition (AAPAC) recently released their annual “Ethnic Representation on New York City Stages” report, which found diversity lacking.
Tom Hanks makes his Broadway debut in Nora Ephron’s “Lucky Guy,” a breezy but thin account of the life and career of columnist Mike McAlary, displaying potent theatrical technique.
The Hollywood Fringe Festival, which last year generated some $389,000 for actors and producers, opened its registration window Monday.