“The Mark of Zorro,” from Scotland’s Visible Fictions, at the New Victory Theater, uses clever paper props and cardboard puppets to re-enact the story of the masked avenger.
Quvenzhane Wallis—the youngest Oscar nominee ever for “Beasts of the Southern Wild”—just landed one of the most iconic roles for young girls: Annie. The title role in the film remake of the classic tale, produced by Will and Jada Pinkett Smith, was originall set with Willow Smith, but ...
Musicals Tonight! gives the Betty Comden–Adolph Green–Jule Styne flop “Fade Out–Fade In” the old college try, but this creaky 1964 Carol Burnett vehicle is a tough nut to crack.
Shuler Hensley sat down with Backstage to talk about musical theater, classical training, and handling perceptions as an actor.
Ana Margineanu, director of the recent “Hotel Project,” discusses the ways in which performers and spectators feed and replenish one another.
Mayor’s Office launches site to celebrate theaters and performers.
Craig Burns and Rachel Hoffman of New York-based Telsey + Company are scheduled to be part of the Foundation’s week-long Summer Performing Arts Intensive programs.
Presented by City Garage with an oddball reverence and dripping with mid-20th-century style, this holiday-themed production of Eugène Ionesco’s “The Bald Soprano” is a real treat.
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.
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.