8,501 stories from Backstage
When Klea Blackhurst and Billy Stritch raise their voices in song, they're like two trumpets in a big-band brass section.
Alan Ayckbourn's Bedroom Farce makes a welcome return to the New York stage, looking quite agile after a 30-year absence.
Director Simon McBurney throws kitchen-sink realism out of the window with a startlingly abstract production of Arthur Miller's 1947 tragedy.
It's hard to imagine a subject more operatic than the creation of the atomic bomb or a character more magnetic than its creator, J. Robert Oppenheimer.
Maybe Mary Cleere Haran garbed like Marlene Dietrich in a white suit and behaving like a modern-day Texas Guinan is just what the economist ordered.
In his new show at the Metropolitan Room, Euan Morton has come wonderfully right - not that there was much doubt he would.
Memory and family float along bizarre currents in Lee Blessing's convoluted play.
Manhattan Theatre Club's adaptation of the 1942 screwball comedy literally plunks the screenplay down onstage and falls flat.
The small talk is small indeed in Force Majeure, Richard Etchison's dramedy set mostly in the lunchroom of a faceless management consulting firm.
The fantastic production is a brilliant visual and aural exploration of memory and perception that requires no supplemental support to convey its message.
Playwright Michael Niederman shows considerable promise and an aptitude for serious issues with To Barcelona!, his provocative but imperfect play.
To produce an evening of contemporary theatre, stageFARM commissioned five playwrights to give short takes on the concept of spin.
Kahlil Ashanti is a charismatic and immensely skilled performer. He endows his autobiographical solo show Basic Training with irresistible energy.
Playwright Adam Rapp may need to declare a moratorium on manipulative women and vulnerable men. These two archetypes are beginning to yield diminishing returns.
Alumni talent will have a strong presence this year at the National Alliance for Musical Theatre's 20th annual Festival of New Musicals, which runs Oct. 20-21 at New World Stages in New York…
Despite an exciting performance, Campbell Scott can't quite overcome this solo play's flaws.
Sustaining a mood of terror in any theatrical event is a tough job, but evoking horror in a tiny black box is almost impossible.
Trite dialogue, a corny plot, stereotypical characters.
Elisabeth Moss, James Barbour, and David Rasche ignore history to play characters made famous by others.
Painful memories mix with video images in this offering at BAM.
It's been 40 years since George Romero's Night of the Living Dead premiered and there isn't much new in the way of parody here.
The time is right for a revival of this 1939 Pulitzer Prize-winning play about little people struggling to keep hope alive.
The New York premiere of the late Sarah Kane's work offers exciting acting and striking stage pictures, but gets descends into a bizarre futuristic war scenario.
As portrayed by Anatol Yusef for the Frog & Peach Theatre Company, Shakespeare's Richard III is not only a malevolent schemer but also a superlative actor.
