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.
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.
Regional meetings for Equity members will be held in January in New York, Chicago, and Hollywood, where nominating committees will be selected for the union’s 2013 elections.
The West Coast branch of the famed “way station for people with big dreams” opened its doors Feb. 26. Ryan O’Connor, its artistic director, resigned effective March 12.
For documentary filmmakers Elisabeth Sperling and Trish Dalton, their involvement lasted much longer. Their film of the 2009 edition, called "One Night Stand: Creating a Play in a Day," will be screened in select movie theaters on Wednesday.
Frank Boudreaux’s cleverly titled “Everything That Is the Case for Two Young Women on the Eve of the Great War Among Other Elegant Lies,” at Incubator Arts, is fun but too dense.
The Elevator Repair Service’s adaptation of “The Great Gatsby,” the Transport Group’s adaptation of a Jonathan Franzen essay, and For/Word Company’s adaptation of Anne Morrow Lindbergh’s writings reinvent adaptation.
Author-performer Michael Shaw Fisher’s rock musical “Doomsday Cabaret,” Orgasmico Theatre Company’s Hollywood Fringe hit now playing at the Blank Theatre, is raucous fun.
Actor-playwright Michelle Ramoni’s “June and Nancy,” a Fringe entry about an extramarital lesbian love affair in 1950s Manhattan, though not uninteresting, is definitely ungainly.