6,222 stories from The Arts Fuse
The sprawling cast -- 30-plus players -- under Michael Arden's direction performs with verve; they deliver outstanding performances and have excellent singing chops.
Why did I help organize the Climate Crisis Cabaret? Because these are not normal times. And we need more theater like it.
"A Man of No Importance" is a fitting finale for Paul Daigneault's tenure as Artistic Director of SpeakEasy Stage Company because it is a paean to the power of theater as both an artistic ex…
A lot goes on in an epic -- three acts over three hours with two intermissions --- and there's boatloads for Kate Hamill to dramatize and for the audience to digest.
It is always a pleasure to see Ibsen on stage, but this staging of one of his masterpieces is generally humdrum.
Revelatory reunions are a standard dramatic set-up, which explains why it takes quite a while for "The Grove" to gather some theatrical steam.
This moving, at times beautiful, production evokes Michael K's vision of purity, a rejection of collective cruelty and madness that asserts human dignity's last stand -- as an animal.
Capsule reviews of five new musicals that opened this month on Broadway.
A story of divorce and self-discovery may be worth telling, but it suffers when it is interwoven with a life narrative that is clearly weighter.
A staging of "The Thanksgiving Play" needs to be rooted in the dramatist's demand that the script shock: it should traumatize the ancestors of the perpetrators.
Both Stereophonic and Babemake compelling drama out of the volatile world of pop music-making.
Once again, Revels has pulled together a varied and diverse cast of amateurs and professionals to amplify a valuable lesson: it's important to stop and take stock of our lives during the lon…
Our critics salute the year's outstanding productions.
At its best, this script offers an opportunity for audiences to cast a backward glance at the first stirrings of dramatist Lynn Nottage's prolific canon.
Few could doubt this satire's relevance, given the alarming results of November's election: a convicted felon, whose minions lean into racist and sexist tropes, is back in the White House.
In a production filled with emotional intensity, Audra McDonald delivers a powerhouse portrayal that elevates a somewhat uneven staging.
Because this "play" relies on audience participation, Vinny DePonto selects inevitably befuddled men and women from the audience on which to demonstrate his mental prowess.
Abigail C. Onwunali's powerhouse performance is memorable, but the mechanics of Mfoniso Udofia's play don't always match the lead's boundary-stretching strengths.
This stage adaptation of Mary Shelley's novel earns its keep -- the production is provocative, well acted, and completely engaging.
Director Jamie Lloyd's loud and brash revival is all sound and fury, signifying nothing.
This is a well-honed, mostly successful script about the difficulties of making human connections -- a drama about seizing the day.
The script is an experiment, a (sometimes) witty lecture on language. But it doesn't work dramatically.
William A. Everett's book is well-researched but based on a problematic premise.
Tony winning playwright Joe DiPietro does a commendable job of dramatizing the true-life confrontation between Margaret Chase Smith and Joseph McCarthy while they were both serving in the Un…
"Leopoldstadt" is one of Tom Stoppard's most heartfelt and expansive works, its poignant storyline inspired by events in his own life.
