1,793 stories from Theater News Online
Who's to say you have to be a star, or even on Broadway, to be a Broadway star?
Now that The Fantasticks has enjoyed such a long run, maybe it's time to hang it up.
A firecracker of a mother bounces off the walls of her middle-class home, pulling her husband and daughter into the maelstrom.
Polly Stenham works a rich dramatic vein with familial relations pushed beyond the realms of normalcy.
The Paper Mill production turns in a fantastic fantastical performance that even those who have grown up can enjoy.
Patrick Lee, a contributor to Theaternewsonline and New York Theater News, has died at age 51.
Rattigan's buried work captures a snapshot of repressed upper-middle-class Brits trying to drown their feelings faster than their feelings can learn to swim.
Howard Davies delivers the gospel of Arthur Miller with a little help from some famous friends.
In the one-man Zero Hour, written and performed by Jim Brochu, Zero Mostel seems to live again, as large as life and twice as natural—or possibly vice versa.
As it relates personal histories through the lens of wardrobe landmarks, Love, Loss, and What I Wore also sets out to be an exercise in sartorial sisterhood, linking the legions who have stood in front of their closets, wondered what on earth to wear.
Ibsen's feminist rebel proves an anachronism in an era of easy credit.
The Theatre Royal Market proves again that impressive productions can come from outside the West End.
Oren Safdie constructs a satiric comedy out of absurd, avant-garde architecture and a dash of neuroses.
Set in 19th-century Russia, it s not quite Chekhov, but The Forest provides funny moments and rich character.
Make sure you get a sitter for the night, because you re not going to want to bring your kids to this one.
Sherie Rene Scott shows a touch of humility in an evening designed to showcase her stardom.
This production proves that London can sing and dance just as well as they do it on the other side of the pond.
In the many instances where the script was intended to deliver situational hilarity, the result is groan-worthy.
The complexities of a mentor-protégée show dramatic promise, but the play fails to deliver the hoped-for payoff.
Patrick Stewart plays the author whose work he has acted out so many times.
Horizon marked a milestone not only in Eugene O Neill's body of work, but in theater's history as a whole.
Playing next to Denzel Washington, Viola Davis steals the show.
Even with the violent material in a 17th century setting, the formula here feels stale, like it's been done recently more than once.
Old-world tradition clashes with the 21st century, and upper-class pomposity comes nowhere near to clashing with the realities of the common man.
Following the awards and hullabaloo of the New York run, the expectations are a little out of reach.
