Charles Busch transitions from vampire lesbians to a vampire cottontail in Theatreworks USA’s “Bunnicula,” an energetic kids’ show that’s a live-action (yet very animated) cartoon.
“Detroit ’67,” Dominique Morisseau’s new play about the Detroit race riots that’s part of the Public Theater’s Public Lab program, is appealing but lacking in tension and conflict.
“Silence! The Musical,” John Hurt, Danai Gurira, and Christopher Gattelli are among the nominees for this year’s LADCC awards, honoring the best L.A.-area theater of 2012.
“There There,” Kristen Kosmas’ slow burn of a two-woman monologue, from the Chocolate Factory and Performance Space 122, finds new paths into Chekhov’s “Three Sisters.”
Brian Stokes Mitchell chats with Backstage about performing characters in the studio, the art of recording, and his five tips for acting success.
The Play Company and Por Piedad Teatro’s stage version of the 1977 Oscar-nominated film “A Special Day,” starring Sophia Loren and Marco Mastroianni, is just an acting exercise.
Directed too deliberately by its author, Athol Fugard’s 2009 play “The Train Driver,” getting its NYC premiere at Signature Theatre, is barely dramatic and too obviously symbolic.
Barbara Blatner’s “Years of Sky,” at 59E59 Theaters, a study of the 30-year relationship of a mixed-race couple, is blighted by unconvincing characters saying implausible things.
Known for his work as Dr. Perry Cox on "Scrubs," McGinley chatted with Backstage about his "dreamy" co-stars, how he prepared for the role, and his big break.
Backstage member Tara Battani is a SAG-AFTRA actor who earned her B.A. in theater from St. Edward’s University in Austin, Tex., and has since booked several roles as a result of reading Backstage.