The abrupt closing Sunday of Neil Simon's "Brighton Beach Memoirs" after only nine performances has cast a brief, uneasy shadow over Broadway's fall season, ironically one of the busiest in …
Why writer-performers Robert Stanton and Daniel Jenkins perform their new play without props, costumes, or sets.
How Christopher Fitzgerald learned to play a leprechaun in "Finian's Rainbow"
Brighton Beach Memoirs was first seen on Broadway in 1983 with Matthew Broderick as Eugene. Now it's returned in an enjoyable revival, which opened Sunday at the Nederlander Theatre.
"It's emotionally challenging and emotionally draining and physically exhausting and all those things but yet, as soon as you finish, you never feel more alive or electrified," says Sienna M…
Christopher Akerlind's design philosophy illuminates "Superior Donuts"
Ars Nova's experimental ANT FEST relies on a breathless pace
The cast of "Vigil" wraps its head around unusual roles
The sensuous, soulful sound of rhythm 'n' blues hits the audience right from the start of "Memphis," the exhilarating new musical now shaking Broadway's Shubert Theatre. Take a deep breath a…
Director Joe Dowling is stepping into what could be a scary place at the Guthrie Theater: on stage, facing an audience as an actor for the first time in more than two decades.
The new musical balances considerable sorrow and considerable joy
The linguistic pyrotechnics of playwright David Mamet are on full display in the bruising Broadway revival of Oleanna, which opened Sunday at the Golden Theatre. It's Mamet's incendiary take on the consequences of political correctness—specifically involving sexual harassment—and how language helps to facilitate the battle.
How do you turn a twangy Texas blonde into a stylish, Midwestern media superstar?
It's all about the hair.
Don't be put off by the subject matter. The play, which examines the finite nature of life and how people cope with illness, is a joyous celebration of human perseverance.
An Irishman and an African-American both portray the same escaped slave
How Jayne Houdyshell created her role in "Bye Bye Birdie"
Michele Pawk learns to love her character in "Mahida's Extra Key to Heaven"
Confession may be good for the soul, but does it make for good theater? Yes, indeed. Especially when the author and star is Carrie Fisher, daughter of showbiz royalty, Star Wars icon, manic-depressive, alcoholic and astute observer of the Hollywood scene.
Tautly directed by Karen Carpenter, the stories often illuminate a moment when a woman's life noticeably changed.
All nine actors, under the direction of Tina Landau, are superb in this production, which has come to New York by way of Chicago's esteemed Steppenwolf Theatre Company.