Stephen Mo Hanan, an actor deservedly celebrated for his comic work in musicals, stumbles taking on the title role in American Bard Theater Company’s only serviceable “King Lear.”
In “Opus No. 7,” at St. Ann’s Warehouse, Russian author-director Dmitry Krymov offers a highly imaginative and deeply moving Kaddish for the lost and persecuted in Soviet history.
The Sundance Institute is accepting submissions, now through Nov. 15, for its 2013 Theatre Lab, which helps aspiring playwrights develop their work.
Premiering at NoHo Arts Center, Diane Vincent and Sam Kriger’s old-fashioned musical tribute to the spectacular Betty Hutton, “Nuttin’ but Hutton,” has definitely got somethin’.
With a new production in rehearsal, Burbank's Colony Theatre needs a cash infusion or it faces closure.
Carrie Coon, who plays Honey in the Broadway revival of “Who’s Afraid of Virginia Woolf?”, calls Gary Oldman's performance in "Sid and Nancy" " ... so out there."
The author of Atlantic Theater Company’s “I’m Gonna Pray For You So Hard” shares her insights on the oh-so-difficult writing process.
“Fly Me to the Moon,” the new comedy by Marie Jones about the misadventures of two healthcare workers, at 59E59 Theaters in the 1st Irish Festival, is just plain fun.
“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.
“Black Women: State of the Union—Taking Flight,” at Katselas Theatre Company, is an uneven mix of six new plays, presented by a talented ensemble with personal urgency and passion.