8,501 stories from Backstage
The company is quite fine overall, but the real treat is Mark Povinelli's towering Torvald. Equal parts lust and disgust, he's the type of tiny tyrant you might struggle to slam the door on.
Ranging from the comic to the cringe-worthy, these five one-acts by Itamar Moses suit the Flea Theater's downstairs venue because its wide, shallow space renders the fourth wall into a silly…
Joe Penhall's drama contains a host of pitfalls for artists, and though the ensemble works gamely to deliver a crackling drama, their efforts are no match for the traps of this shrewd play.
Okwui Okpokwasili's new piece at P.S. 122 is a compelling theatrical journey, by turns human and mystical, tough and tender, unusual and, on some deeper level, familiar.
Playwright Mac Rogers has crammed a lot of stories into his new play, a rewrite of Czech playwright Karel Capek's "R.U.R." Some of his ideas are more successful than others, but the excellen…
Despite a compelling, knowing, and committed performance by Daniel Wolfe in the title role, Christopher Marlowe's play is largely ill-served by director Richard Mazda's frequently overwrough…
Rita Moreno adds triumphs to her celebrated career.
David Harbour can do it all -- and is finally getting his due for it.
Drama Desk panel tackles age-old issues of theatre, politics, and advocacy.
There is little reason for these two one-acts to share a double bill except for the opportunity to present a recession special. Unfortunately, that offer is hardly a deal.
If you want to tell a New York City ghost story, you'll probably want to set it somewhere between 14th and Delancey streets. And you'll want Edgar Oliver to tell it.
The most startling revelation of director Austin Pendelton's production is Mamie Gummer as Sonya, Vanya's plain niece. Classic Stage Company should have renamed this production "Sonya."
As far as Ellen Kaye is concerned, the whole point of cabaret is that when it's over, "you can go home and have great sex."
There's no guile about Conklin in the least, just a welcome penchant for giving songs a slightly jazz turn. But she never goes so far into familiar jazz delivery that she forgets about the i…
What Cumming is, first and foremost, is an entertainer.
The problem with Eric Sanders' adaptation of Algernon Blackwood's short story is that despite a few genuinely creepy moments, the strings being pulled are too obvious.
Though there are some real gems in the Foundry Theatre's latest production, you have to sort through a whole lot of junk to find them.
Questions of cultural and familial identity in this story of a Jewish family are given an intriguing twist when taken on by a cast of Asian-American actors, the drama becoming more universal.
Rarely does a play take you to a corner of the world you hardly ever think about and force you to care fiercely for the people in it.
Director Tom Wojtunik's revival, ingeniously staged in the transformed gym of a Queens church, makes what was distant and didactic on Broadway seem wonderfully intimate.
Bob Martin returns to the stage with the new musical 'Minsky's.'
Through precise delivery and the sheer force of their concept and subject material, the protagonists of this Nonsense Company production captivate their audience even as they disorient it.
Good news. Mike Burstyn looks and behaves as we feel that master mid-20th-century criminal Meyer Lansky might have looked and acted. And director Joseph Bologna, who also co-authored the pla…
This not-very-deep comedy is similar to what you can get on TV -- in fact, the last performance will be aired as a live special on HBO -- yet it's a fun and stress-relieving evening.
Thank God for Kristin Chenoweth and Douglas Sills. Without them, the Encores! concert version of "Music in the Air" would be a soggy slice of strudel.
