8,501 stories from Backstage
The concept of incorporating architecture into opera makes for powerful theatre. The Lincoln Center Festival deserves credit for mounting this formidable, rarely performed opera - at its 195…
Alan Cumming's Dionysus is a demigod trapped in a demi-thought-through production.
Debbie Reynolds returns in a vaudevillian stage show.
Trezana Beverley on her post-Tony career and her role in 'Marko the Prince'
Florida playwright Barton Bishop's eccentric two-hander suggests such disparate influences as Mark Twain, the Coen Brothers, and even -- heaven forfend -- "Weekend at Bernie's."
The song titles alone give a good idea of what the Bobs - formed in 1981 as an a cappella quartet - are going to be like.
Concentrating on the lyrics of E.Y. Harburg, Karen Oberlin encountered two obstacles -- one of her own devising and one inevitable.
In her self-written one-woman show, Suzanne Willett attempts to break down this definition but ends up propagating other damaging labels.
You can go home again -- you just probably shouldn't. And there was never a better reason to leave and not return than Southern matriarch Bertha in "Make It So."
Dog Run Rep has done its best to make Shakespeare Accessible and Relevant.
Nominated for a PEN Award, Jovanka Bach's final entry in her Balkan trilogy provides convincing characters, haunting poetry, and no easy answers.
For all its Vegas sensibilities, this is a fun show. Though not as imaginative as the Cirque du Soleil shows I've seen, it's still a pleasant diversion for a summer evening.
Despite the abrasive nonsense that clings to Anthony Neilson's tritely titled "Stitching," I have been unable to altogether shake the play. Mainly I remain fixed by the fiercely felt presenc…
At times the highly expressive Annie Lanzilotto's performance piece can seem like a series of digressions with no discernible center, but by the end you realize that there may be no better w…
The images are rich yet oblique, creating the tasty paradox of an aggressive production that takes its foot off your throat only when it's time to digest its pungent vision.
Judith Thompson's play is beautiful but not entirely convincing.
"Bash'd" doesn't merely quote its milieu with a lazy, semi-ironic shrug. In its chronicle of a fated gay romance, this wonderfully wicked pas de deux is a genuinely revealing cultural artifa…
Basil Twist has a stage magician's gift for sleight-of-hand, and he can do things with Christmas lights and forced perspective that filmmakers can barely do with computers.
"Love is hard for everyone," author-performer John Jiler tells us near the start of his lively but sometimes discomforting show.
It's a rare pleasure to hear laughter at a new opera: not a self-aggrandizing chuckle to prove understanding or a polite giggle at a singer's mugging, but real, deserved laughter.
For the most part, "Miss America" smacks of indulgent youthful innocence squeezed through the withered ringer of experience rather than the work of seasoned satirists.
Canadian actor Raoul Bhaneja delivers a satisfyingly straightforward rendering of the text, and it makes for a surprisingly enthralling production.
Singing the praises of the unsung swing.
Arrested development has rarely been either this cartoonish or this solemn.
