158 stories from newyorkmetro.com
Some Broadway and Off-Broadway veterans made the cut.
Thanks to Wayman Wong on All That Chat for the link!
Get Real by Jeremy Gerard
The eight Tony nominees for Best New Play and Musical prove nothing if not this: Broadway is more escapist than ever. It’s been a long time since Angels in America.
From Hair to Hairspray, our tour of 35 years of high points on the Great White Way.
As Chicago moves into the home stretch of its Oscar campaign, Marty Richards recalls his life as a starstruck producer, his loving marriage to an American heiress who knew he was gay, and the 27 high-flying years (those Gin Lane parties!) it took for his Broadway hit to triumph on the silver screen.
Harold Prince brings directorial savvy, and loads of heart, to the coming-of-age comedy Hollywood Arms; Jackie Mason is back and in top, zinger-ready form.
What sounds like Billy Joel (on a roll) and looks like Twyla Tharp (on a tear)? Movin' Out, Tharp's sexually charged, full-throttle dance show based on Billy's greatest hits. Is it a new kin…
Director James Lapine is more at home with Sondheimian ambivalence than with pop trifles like Windmills of Your Mind. So why did French songsmith Michel Legrand pick him to stage a romantic cream puff about a man who walks through walls to get the girl?
Thanks to Drum1870 on All That Chat for the link!
Includes a profile of LaChanze.
Thanks to Drum1870 on All That Chat for the link.
When it comes to the goofiness of baseball, Take Me Out swings (and scores) -- too bad it also takes sex, race, and sport so seriously; still going strong, Rent gets that Sync-ing feeling.
Harvey Fierstein's back on Broadway in Hairspray, a big fat wet kiss of a show, and all's right with the world; the Roundabout spruces up The Boys From Syracuse -- but why?
Julie White's bitter comic genius has carried The Little Dog Laughed to Broadway.
They don't make them like they used to. Can Renée Fleming and Audra McDonald save this endangered species?
As boomer Broadway wheezes its way into irrelevance with The Times They Are A-Changin', a fresh voice emerges downtown.
Just how enormous an undertaking is Tom Stoppard's epic three-evening play about nineteenth-century Russian intellectuals? As the first third opens this weekend, a selective breakdown.
There are still secrets left to tell about Little Edie Beale, including her diary.
After all the drama around My Name Is Rachel Corrie, what are we to make of the actual play?
Shaw's Heartbreak House gets a revival that shows off its talky brilliance. Plus: Cynthia Nixon, Neil LaBute, and more.
Where does the new A Chorus Line sit on the current buzz index?
Yes, it's a period piece. No, it's not a jaw-dropping revival. But A Chorus Line still has that hard-to-deï¬ne something.
Eric Bogosian updates subUrbia to 2006. Or tries to.
John Lithgow loses his dirty rotten side.
Ed Harris-star of Neil LaBute's new one-man play, Wrecks-is not a control freak. Got that?
The Shortbus star wants America to stop being scared and start having more sex.
