916 stories by "Laura Collins-Hughes"
A white liberal historian and a frustrated African-American student make a combustible combination in Eleanor Burgess's play.
It's 1963 again, and this chamber musical packs all the heartbreak and bliss of love in a Village gay bar of the era.
It's 1963 again, and this chamber musical packs all the heartbreak and bliss of love in a Village gay bar of the era.
The heroine's impossible position could hardly be more sympathetic or central than in this Pushkin Theater Moscow/Cheek by Jowl staging.
It took persuading, but Jez Butterworth wrote his new play for his partner, Laura Donnelly, both to honor her history and give her a great part.
Three eras, three plays drawn from real life. But the same old double standard.
Bess Wohl's new play is a regret-tinged examination of sibling connections that maybe, back in those formative years, were not forged solidly enough.
This experimental docudrama at La MaMa charts the history of the National Endowment for the Arts and argues for its continued importance.
In Catya McMullen's tender and funny play, a brother with Asperger's syndrome seeks connection as his overprotective sister's relationship flounders.
In "Gloria: A Life," Ms. Steinem will be portrayed by Christine Lahti, who isn't shy about making suggestions about moments that belong in the script.
Yes, household objects stand in for famous characters. But in the hands of master storytellers, these condensed versions can cast a spell.
Ensuring that "I Was Most Alive With You" was accessible to both hearing and deaf audiences made rehearsal dauntingly complex " and a little confusing.
The play, set in 1914, is staged as if in a London air-raid shelter in 1940. It's an ungainly frame for this crisp comedy.
A community reels after a young father is killed by police in Geraldine Inoa's unsettling play.
The National Asian American Theater Company puts on a fast-paced and unusually lucid staging of the bloody history play.
The creators of this folk-rock musical about the second man on the moon want us to sympathize with his emotional wound.
This dementedly daffy piece of fun, from the theater company TV, will give you a warm glow in the fleeting moment it's here for a brief run.
The Mint Theater Company's revival of Lillian Hellman's 1936 play is a mishmash of acting styles, tonally uneven and frustratingly unfocused.
A production with same-sex leads is one of many signs that directors are approaching the Rodgers and Hammerstein classic with new eyes.
Jonathan Leaf sticks close to historical fact in his ambitious new verse play, but the action in this production always feels removed, like a diorama.
A play based on a confessional, self-obsessed woman's memoir " from the 15th century " is back, at the Duke.
Following "The Originalist," the judge talked fondly about its subject: her frequent legal sparring partner Antonin Scalia.
But, racing through 40 classic Leiber and Stoller songs in 90 intermission-less minutes, the show only occasionally slows down enough to breathe.
A show set inside a smartphone is silly, yet surprisingly resonant with contemporary politics.
This immersive British import at Roy Arias Stages puts a crusty toilet in the center of the audience, but it lacks the film version's sense of seamy tragedy.
