Tim Crouch’s “I, Malvolio,” a shrewdly clever portrait for young people of Shakespeare’s “Twelfth Night” from a minor character’s point of view, has a split personality.
Jeff Bernhardt’s “Therapy,” at the Secret Rose Theatre, is a well-performed, interesting visit with three therapists and a patient whose issues touch each of them, but it’s too safe.
"Boardwalk Empire"'s Gretchen Mol discusses her return to the stage in The New Group's psychological thriller, "The Good Mother."
Composer-performer Kamala Sankaram and musical theater writing team Joshua Salzman and Ryan Cunningham are the recipients of the 2013 Jonathan Larson Grants, totaling $10,000.
Blake Ellis recalls working alongside James Carpenter in the San Jose Repertory Theatre's production of "The Dresser."
Reprise Theatre Company announced it has hired veteran executive Stephen Eich as consulting producer to help it restart production in the New Year.
Local 32BJ of the Service Employees International Union, representing Broadway theater service workers, threatens to strike if new contract isn’t approved by Dec. 30.
A new litter of singing and dancing felines hits the stage in Ellen Warkentine and Andrew Pedroza’s hysterical but uneven Fringe opera based on the Internet’s Lolcats photos.
The Actors’ Equity Association won’t join a growing union boycott of West Palm Beach’s Kravis Center—at least not yet.
Writer-director Edward Elefterion’s “Alone,” from Rabbit Hole Ensemble and inspired by the life and work of August Strindberg, explores the sources and process of creativity.