8,501 stories from Backstage
Continuing to grow as she ages, Cook serves as a model of artistic excellence to those hoping to follow in their footsteps.
Are people really clamoring for a resurrection of a game show that debuted during the Truman years? Apparently they are -- and if not, they should be.
Itamar Moses' "The Four of Us" gripped me until its final two scenes, whereupon I grew angry and distraught, mourning another unrealized climb toward dramatic greatness.
O'Keeffe was single-minded and self-absorbed. These qualities were good for her output but don't make for such great theatre.
This show may be preaching to the choir, but it's an instructive and engrossing sermon.
Peter Sinn Nachtrieb's imaginative piece of social satire turns out to be a clever play that's both experimental and entertaining.
The site-specific "Ladies & Gents" at the Bethesda Fountain Toilets relies a bit too heavily on its noir mood; with its uneven acting and spotty writing, the play is (luckily) overshadowed b…
Ephraim Kishon's comedy is one for all families, and Kishon deserves to be as widely known in English as he is in German, Russian, and Hebrew. Producers, are you listening?
Playing the Spanish-style music of Mitch Leigh on only two guitars sounded like a nifty idea. But it's almost a total washout.
If you stripped away the glamour from the movie "Fatal Attraction" and replaced it with grimy hopelessness and a healthy dose of testosterone, you might end up with something like Simon Farq…
In an election year, performers' unions are campaigning for universal coverage
Sometimes shows remain obscure for reasons other than the sloppy cataloging and storage of their components after they close. An eager young cast is clearly doing what it's been told to do, …
In Kevin Augustine's brilliant and disturbing creation myth presented by Brooklyn-based puppet theatre Lone Wolf Tribe, God may not be dead, but he isn't feeling particularly well.
There are only a few more opportunities to catch the late John Belluso's provocative unfinished play, spiffily presented by a first-rate cast under Lisa Peterson's resourceful and caring dir…
Arts-themed schools are seen as a benefit to students, but they raise questions of who is being left behind.
Whatever cabaret is as the 21st century unfolds - and it's looking less and less like a stairway to widespread fame and fortune - Helen Baldassare understands it and has mastered it.
Michael Murphy's drama, directed with simplicity by Carl Forsman, compellingly brings a tumultuous slice of American history to the stage.
The singing-dancing-adlibbing performer is a savvy cookie, but she may not realize there are times when a little less registers as a lot more.
This production won't win any points for clarity or coherence, but the spirit of invention is plain to see.
For audiences familiar with Euripides' version of the myth, much of this play will be recognizable, but there are some fresh embellishments.
Although Chris Miller's music spans an appealing range of pop, torch song, and blues, clichés, vagueness, and repetition prevail in Nathan Tysens' lyrics.
In a program note, Qui Nguyen and Robert Ross Parker say they aim to create theatre for anyone who has ever "got lost reading a comic book or video game when they should have been doing thei…
As Mercutio asks, "What curious eye doth quote deformities?," this reviewer must ask, What director's eye doth deform this tragedy into low comedy?
While the setting may be simple, the play's ambition is not: It aims to tell nothing less than the troubling relationship of British submissiveness to American foreign policy since the end o…
A fast 90 minutes, this new musical at Theater for the New City charms with ease, rightly wearing its limited ambitions as a badge of honor.
