921 stories by "Laura Collins-Hughes"
Todd Michael's "The Asphalt Christmas" is a satirical mash-up of old Hollywood movies, holiday-related and otherwise.
Shuler Hensley stars in "Dr. Seuss' How the Grinch Stole Christmas! The Musical," the holiday offering at the Theater at Madison Square Garden.
"Send for the Million Men," a multimedia drama at Here, enlists puppets, video, a robot and three human actors to revisit the 1920s trial and execution of Sacco and Vanzetti.
After 46 years, Michael P. Price is stepping down as executive director of Goodspeed Musicals in Connecticut.
"On a Stool at the End of the Bar," by Robert Callely, follows a couple as they adjust to some surprising truths.
As "Tamburlaine, Parts I and II" prepares to open, a look at productions which have needed that most theatrical of special effects.
"Odd Birdz," from the ensemble Tziporela, features sketches with a wide range of characters and situations.
"Spacebar: A Broadway Play by Kyle Sugarman" is a coming-of-age comedy about a Colorado drama geek yearning for his father, who's fled to New York.
Zvi Sahar's theater piece "Salt of the Earth" is set in a dystopian Israel under siege from within.
"Six Characters in Search of an Author" retains its haunting, experimental feel in Emmanuel Demarcy-Mota's production at the Brooklyn Academy of Music's Harvey Theater.
Now getting a rare revival from the New Group, David Rabe's "Sticks and Bones" brings America's living-room war into a sitcom-perfect American living room.
In "Not Afraid," a new play by Nora Sorena Casey, a young woman's violent fixations threaten to turn on her.
"Uncanny Valley," at 59E59 Theaters, is a sort of futuristic Pinocchio tale involving an android.
"Rococo Rouge" is Company XIV's flamboyant mix of fashion, opera, dance and more in the East Village.
A "Tempest" at La MaMa, starring Reg E. Cathey, is sonically lush, with music by Elizabeth Swados.
Jordan Harrison's new comedy "Marjorie Prime" premieres at the Mark Taper Forum with Lois Smith in the title role.
Mike Daisey performs "The Great Tragedies," four monologues that touch on his grave frailties in the context of Shakespeare's tragedies, at California Shakespeare Theater.
The outdoor presentation of "Everything by my side," by Fernando Rubio of Buenos Aires, is part of the Crossing the Line festival.
"Gaïa Global Circus" is a thoughtful climate-change play by Pierre Daubigny, performed almost entirely in French with English supertitles.
A production of "Uncle Vanya" at the Pearl Theater gains immediacy from its loose-limbed translation.
"Embers," a radio play by Samuel Beckett, is staged for a theater audience at the Harvey Theater as part of the Brooklyn Academy of Music's Next Wave Festival.
In "Imagining O," Richard Schechner meshes Shakespeare with "Story of O," depicting women as strong and defiant.
In "Juárez: A Documentary Mythology," at the Rattlestick Playwrights Theater, actors recite the accounts of residents who have witnessed that border's town's cycle of violence.
Poetry plays a big part in the one-man show "A Sucker Emcee," "Ndebele Funeral" and the Irish play "Boys and Girls."
Lauren Gunderson's play "Bauer" follows the trajectory of Rudolf Bauer, a 20th-century painter who came close to stardom until his patron died.
