8,501 stories from Backstage
Though it was written almost 20 years ago and is set in 1987, Horton Foote's "Dividing the Estate" feels as if it could be happening right now.
Just because both fellows have a way with words doesn't make them ideal collaborators.
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 once you find your ghost story, you'll want Edgar Oliver to t…
At several moments during this new children's musical, the choreography, whip-smart lyrics, and irrepressible spirits of the six-person cast combine to elevate the show to heights higher tha…
With their echoes of absurdist theatre, there's an enervating familiarity about this double bill by contemporary Polish playwright Michal Walczak. Nevertheless, the plays are given energetic…
"Waves," conceived by director Katie Mitchell and carried out with the video design of Leo Warner for Fifty-Nine Productions Ltd, is a feat of imagination and creativity. Still, there's a di…
With her fluffy gray-blond hair and patrician features, Barbara Eda-Young is an impossible sell as the title character in her play about a former star of the Yiddish theatre and her son.
Although the title refers to an announcer's call as a baseball flies for the fence, "Back Back Back" is more bunt than home run. The first half of Itamar Moses' play about a true-life scanda…
After 56 years, four titles, three directors, numerous readings, one New York workshop, and two out-of-town engagements, Stephen Sondheim's latest musical has finally arrived. Was it worth t…
This overstuffed, scattershot, but potent black comedy springs from the fevered brain of Derek Ahonen, playwright, director, and co-founder of the troupe known as the Amoralists.
Rachel Crothers' 1923 play shows us what it is like to be a young, vibrant American woman in that year. Forget "Millie"; this is "Thoroughly Modern Mary," and there's a lot more to her than …
Donal O'Kelly as playwright has created his movie narrative as a stage poem, heavy on the lyrical aspirations and awash in painterly impressionistic pictures. At times it seems as if the act…
With provocateur Thomas Bradshaw's latest play in the very capable hands of director Jim Simpson, it's finally possible to see a glimmer of the human comedy in Bradshaw's stylized, absurdist…
There's plenty of material in dancer Jack Donahue's life for a musical, from the future stars who appeared alongside him to his battles with alcoholism. The two-person "My Vaudeville Man!" i…
There are plenty of laughs at the excessively foul language and the gang's goof-ups, but how much richer this "American Buffalo" would have been had two-thirds of the cast concentrated on co…
With a few judicious cuts and a stronger director, "My Favorite Animal" could be a brisk romp through the romantic entanglements of some severely disturbed Texans. As it stands now, however,…
Despite the undeniable pleasure of at last experiencing this long-lost piece, one is left hoping that Kurt Weill's "Marie Galante" will receive a more enlivening and illuminating production …
The has-no-bad-angles Marcovicci is singing better and better these days. In her latest show, she rises to her usual level and beyond it.
What could easily have become a feel-good treacle fest - particularly with Elton John composing the music - turns out to be one of the smartest and most satisfying Broadway musicals in years.
These six one-acts are united by gender: All the contributing playwrights are women. But while the theme is a pertinent one - the gender divide in the field of playwriting is still painfully…
From its title on, "Mountain Jews" is as devoid of plot and purpose as it is of taste.
The tale of bloody ambition fits comfortably in this feudal militaristic environment and at the same time is infused with intriguingly different cultural dimensions.
Named for a Metro stop on the Washington underground, the one closest to K Street lobbyists and think tanks, "Farragut North" is a shallow play given an absorbing production.
Singing songs made famous by others is not a sure way to establish one's own performing identity.
