262 stories by "ERIC GRODE"
A chat with Wrenn Schmidt, who will play the young muse Hilde in a production of Ibsen's "Master Builder" at the Harvey Theater at the Brooklyn Academy of Music.
How Colm TóibÃn wrote Broadway’s The Testament of Mary The Master, perhaps Colm TóibÃn’s best-known novel, looked at a rare artistic misstep in the life of Henry Jame…
In a drag-heavy Broadway musical, Stark Sands brings the straight man (ahem) to life — Welcome to Building Character, TDF Stages’ ongoing series about actors and how they create …
Trey Anastasio of the band Phish prepares for the opening of his Broadway musical, "Hands on a Hardbody."
Nellie McKay adds zip to Bill Irwin’s “Old Hats” Nellie McKay’s limbs might not be as nimble as those of Bill Irwin and David Shiner. (Whose are?) But her ukulele-str…
Seth Rudetsky, whom Audra McDonald calls "the mayor of Broadway," will spend the next month putting on multiple shows a day.
The lead actress and executive story editor of "Nurse Jackie" are joining forces onstage.
Some of the more active female directors identify their influences and their aspirations.
A writer takes Broadway and Off Broadway at the same time After more than 30 years of West Coast sun and valet parking, playwright Lyle Kessler would be forgiven for slowly re-enterin…
James DeVita charts his career during "In Acting Shakespeare" at the Pearl Theater, a play adapted from Ian McKellen's "Acting Shakespeare."
In "2 Dimensional Life of Her" the Australian performance artist Fleur Elise Noble has brought puppets (without visible handlers) to the Under the Radar Festival.
"Hollow Roots," Christina Anderson's play starring April Matthis, attempts to stoke a postracial discussion.
Laurie Metcalf is back on Broadway with a familiar show, "The Other Place" (she did it off Broadway); a familiar director (Joe Mantello); and a familiar co-star (her daughter, Zoe Perry).
Inside this year’s festival of cutting-edge theatre How do you prefer your cutting-edge theatre? As a 30-minute Hamlet adaptation in Farsi? As an 11-hour exploration of an ordinary lif…
Bartlett Sher’s vision for his Broadway revival When Bartlett Sher first floated the idea of directing Golden Boy for Lincoln Center Theatre, he proposed doing it in repertory with Ham…
In "Trojan Women (After Euripides)" the pathos have been dialed back, with emotional clarity being emphasized more than cathartic tumult.
The playwright on his new show “Vanya and Sonia and Masha and Spike“ Baseball fans with extra-disposable incomes are familiar with the idea of fantasy camp. A big paycheck earns …
How Cusi Cram created her nuclear play “Radiance” The pair of watering holes in Cusi Cram’s new play Radiance will look familiar to fans of Labyrinth Theater Company. These…
Samuel Hunter tackles “The Whale” Samuel D. Hunter is well aware of how audiences will react to the first image in his new play The Whale: As soon as the show begins, we see a 60…
At the heart of "Dispatches From (A)mended America" are interviews with Southerners on the eve of the Obama era.
Playwrights labor long and hard over the first words we hear; here they share how and why they begin the way they do.
How Tolstoy’s novel became a kicky new musical Say you’re faced with a literary tome and an itch to put it on stage. Do you find a way to dramatize every word? After all, that…
A production featuring refugees from the Democratic Republic of Congo is part of the Undesirable Elements series at LaMaMa in which nonactors from marginalized groups tell their stories.
Theater notables who saw the 1962 production of "Who's Afraid of Virginia Woolf?" share their recollections, reservations and realizations.
Director Dexter Bullard talks about bringing the heightened reality of “Grace” to Broadway Jesus and his followers have enjoyed a fair amount of time on Broadway of late. Still, …
