6,209 stories from The Arts Fuse
Sharon Rothstein’s sharp drama shifts the focus from censorship to the corrosive culture of public shaming.
Jonathan Spector’s successful satire finds biting comedy—and uneasy truth—in the limits of well-meaning consensus.
Gabriel Graetz and Paul Melendy power Charles Ludlam’s camp classic, even as a stripped-down design leaves some comic potential untapped.
"The Maids" uses video and fantasy with purpose, while "Kenrex" turns a grim murder story into empty showmanship.
After a year of safe revivals and recycled material, companies hint at change—but caution, celebrity casting, and déjà vu still dominate the lineup.
After a year of safe revivals and recycled material, companies hint at change—but caution, celebrity casting, and déjà vu still dominate the lineup.
Set amid the rituals and turmoils of barrio life, this contemporary take on "Oedipus Rex" trades Sophoclean complexity for theatrical vitality.
Two beloved cult properties arrive on Broadway with formidable casts and decades of devotion behind them – but conjuring darkness turns out to be harder than it looks.
The smoke drifting over the set is a metaphor for the mind-fogging rhetoric of Willy Loman’s phony boosterism. He has been adrift in an American dream that was a lie all along.
SpeakEasy Stage’s musically rich production grips with its performances, even as the drama struggles to fully deepen its tale of a crisis at sea.
By Christopher Caggiano Two productions set out to reinvent Lloyd Webber’s back catalog. Only one of them succeeds. A confession: I’ve never been a big fan of Andrew Lloyd Webber. I will…
In this high-energy comedy of creative frustration, history"and hubris"repeat themselves to hilarious effect.
With its production of "Charlotte's Web," WFT has created a lovely, balanced experience -- by turns obvious and full of nuance -- that offers life lessons in the value of multigenerational s…
A renovated and flexible performance space with unlimited free parking is what every theater company from Boston to Portland dreams of.
The proceedings are continually involving, each of the performers supplying sufficient dramatic weight and interacting as a credible ensemble of characters rather than caricatures.
The play is preachy. But John Lithgow is magnificent.
I'm thinking that a one-person performance of "Hamlet" by a Brit transwoman might get under Trump's necrotic skin.
"Suffs" bounces through a timeline of conferences, direct actions, interpersonal snits, and self-questioning over whether the entire endeavor is really worth it.
Daniel Okrent's "Art Isn't Easy" is an engaging if familiar introduction to one of theater's most complex figures " though seasoned Stephen Sondheim devotees may find themselves wanting more.
"Rhinoceros" is a powerful wake-up call that, whether we like it nor not, we are writhing on the horns of a dilemma.
In his speculative play "The Antiquities," dramatist Jordan Harrison has no trouble envisioning earthlings in the post-human age.
Come for the frolic and high energy professional stagecraft; stay to experience this creative ensemble's answer to: Who the hell are we, facing the end?
Is anyone surprised that playwrights like Kearnan are creating works that show us women who are resourceful -- and ready to fight back against their oppressors?
Keiko Green's play about the end of the world is a robust vaudevillian entertainment.
"Achieving some sort of balance is key; to capture the heart and soul of who we are, and to present that on our stages, so that we continually challenge audiences and surprise ourselves."
