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SOURCE: Theatre Development Fund at 05:58PM
How Broadway shows get altered for the road.
The art seems to emerge from the artifice.
Can Broadway get away with being this dumb about race?
One of the glorious problems that keeps a play from a second life as a book of poetry (or most plays; I’ll give you the Greeks and the odd, rule-proving exception like Ntozake Shange) is t…
Writer-actor Victor L. Cahn's "Getting the Business," at the Clurman Theatre, hasn't much to offer except for the redoubtable Susan Louise O'Connor.
"Skippyjon Jones," the new children's musical from Theatreworks USA, is more for kids than parents, but it has a beautiful Kevin Del Aguila–Eli Bolin score.
Will Eno's tender "Title and Deed" gets a solid American premiere at the Signature Theater, starring Conor Lovett.
Mark Ravenhill's "pool (no water)" comes to New York in a disjointed production from One Year Lease.
Timberlake Wertenbaker's 2003 retelling of the Cinderella story, "The Ash Girl," is getting a mixed-bag production from the young Pipeline Theatre Company.
“Elephant Room,” the final show at St. Ann’s Warehouse’s current location, works well as comedy while amazing in the execution of its magic tricks.
David S. Craig’s adaptation of Michael Ende’s “The Neverending Story,” from Canada’s Roseneath Theater, is unfortunately more about the movie than the book.
The Gate Theatre's adaptation of Tolstoy's great short story "The Kreutzer Sonata," now at La MaMa, puts the astonishing Hilton McRae in the driver's seat.