8,501 stories from Backstage
Gérald Sibleyras' 90-minute intermissioness three-hander, translated by Tom Stoppard, is meant to be a funny-sad observation of men who rage against the dying of the light. But what s…
"Modern [Dance] Musicals" is a tickling fusion of Broadway pizzazz and contemporary-dance creativity, heavily dosed with parody, wit, and outlandish fun.
Gritty despair spars vigorously if not always convincingly with poetic romanticism in "Cherry Smoke."
Fans of sophomoric humor will have a blast at "The Black Jew Dialogues," but anyone looking for a witty, subversive take on race in America will be disappointed.
In Frank Ingrasciotta's one-man show at the newly refurbished Actors' Playhouse, the actor-author embodies multiple characters from his life as the son of Sicilian immigrants to Brooklyn, an…
It is when the cast, who wrote the play together, allow themselves to question the relationship gurus and bring in multiple viewpoints, that they are most successful.
Despite the emotionally charged subject matter and well-crafted performances, "Distracted" never fully engages the heart.
Tall, handsome, vulnerable, and spiritual, 27-year-old Matthew Amendt makes the title character in "Henry V" as appealing as any of the Jonas Brothers. As a result, Shakespeare's play about …
It may not be a miracle, but Evan Smith's pitch-perfect new play at Playwrights Horizons is full of theatrical grace.
When Rhodes tackles standards, which she did, for instance, with her beg-off "Over the Rainbow" (E.Y. Harburg-Harold Arlen), she takes unattractive liberties.
Despite its strengths, the show feels like a workshop, its components too loosely held together, its structure still emerging.
Despite engaging performances in each act, the company of "Figaro/Figaro" fails to link the two views of the tale, creating a cast of fragmented characters.
Long before the lead character in "Gates of Gold" dies, the play itself expires in a welter of confusion and exhaustion.
The storytelling of this one-man show is laced with abundant and welcome humor, but occasionally the script sounds like standup comedy, lending an out-of-place glibness to the work.
The word "opera" doesn't mean singers roaring at the top of their lungs in stock roles and sustaining fever-pitch drama without respite.
In the Mint Theater Company's sterling production of this early D.H. Lawrence drama, it's immediately evident that D.H. Lawrence was a natural-born playwright.
Did someone forget to baptize Guys and Dolls? Seems unlikely—but how else to explain why a nigh-perfect musical entertainment has been plunged into limbo, suspended between cartoon and noir in director Des McAnuff's appalling revival?
The show isn't merely a chat-and-remember session with the ultimate Hollywood misfit.
Unfortunately, this piece displays little evidence of being ready for an audience.
Watching this lifeless production is a bit like trying to get a pep talk from a depressed nihilist; it just doesn't seem to care.
What if you decided to write a comedy whose dialogue consisted almost entirely of questions? That's the exercise Tara Dairman has set for herself. The show is really an extended sketch, but …
It's not really a play, and "staged documentary" sounds way too dry for this fascinating look at a very famous mid-20th-century figure largely unremembered today.
The design of the show adds to a festive mood, yet a theatrical riff on a lecture is still, in the end, a lecture.
In director David Cromer's hands, the cozy hamlet of Grover's Corners has become a frosty little town.
Triple threat Joseph Bologna on 'Lansky' and his career on and offstage
