8,501 stories from Backstage
The Manhattan Theatre Club said Monday that Walter Bobbie's play starring Tony Award nominee Nina Arianda and Emmy Award nominee Hugh Dancy will transfer to Broadway's Lyceum Theatre in Fe…
This largely charming and touching 70-minute two-person stage adaptation of Michael Morpurgo's sequel to "War Horse" nevertheless doesn't transcend its origins as a children's novel.
At first Michael Sexton's production of Shakespeare's bloody tragedy seems like a confusing visit to the ancient Roman Home Depot, but just before the end of the first act it takes off lik…
Patti Murin, Liz Mikel, Josh Segarra and Lindsay Nicole Chambers are starring in "Lysistrata Jones," a musical update of Aristophanes' play "Lysistrata" by Douglas Carter Beane.
The cast and creative team of the revival of "Porgy and Bess," which lands on Broadway in January, spoke with Back Stage about bringing the Gershwin classic to life.
Pipe Dream Theatre's musical adaptation of Charles Dickens "A Christmas Carol" feels more like an amateur event for friends and family than a full-fledged professional production.
Director Michael Mayer's reconception of Alan Jay Lerner and Burton Lane's problematic 1965 musical comedy is a depressing misfire, starring a distinctly ill-at-ease Harry Connick Jr.
A clash of cultures in 16th-century Puerto Rico serves as the background for this musical about the tragic love of a Spanish girl and a Taino man that features a strong score.
A fun Summer of Love nostalgia fest and a labored metatheatrical present-day whimsy constitute Michael Weller's one-acts, which are sometimes amusing but always lightweight.
Shakespeare's violent tragedy gets an even more brutal reworking in this production, in which the evil, chaos, and physicality are both unrelenting and enthralling.
Adam Pascal wanted to be in "Memphis" long before he ever saw "Memphis," which sounds a little crazy.
In this theatrical accusation, written and performed by Gerard Mannix Flynn, an Irishman details in exuberant language the horrendous damage inflicted upon him by church and state.
Inspired by writings by Federico García Lorca, this debut production of AENY-El Puente is a sincere, impressionistic, sometimes static, yet often powerful portrait of life in New York.
Lydia R. Diamond's "comedy of manners" is not a good play, but it is an entertaining one, an exuberant work that will likely prove an audience pleaser.
This polished performance of Merce Cunningham's evening-length work set to a John Cage score inspired by James Joyce's "Finnegans Wake" opens the famed modern dance troupe's penultimate U.…
Intense performances and imaginative visual imagery give theatrical fervor to this production, which consists mainly of fairly oblique monologues meditating on mortality and the impact of …
Producers announced Tuesday that the show, which has been playing downtown at New York Theatre Workshop, will play Bernard B. Jacobs Theatre this spring. The musical ends its off-Broadway …
It's a good thing nobody told Steven Spielberg when Emily Watson signed on to his new movie "War Horse" that she's afraid of horses.
Alan Ayckbourn is back in top form with this dryly hilarious comedy about vigilantism led by the brilliant Alexandra Mathie, a comic goddess if ever there was one.
Jordan Harrison delivers a sharp and satirical portrait of a couple dealing with 21st-century angst by escaping into the past. Marin Ireland continues to be one of NYC's hottest stage acto…
In his New York theater debut, John Hurt's slightest twitch or gesture speaks volumes in Samuel Beckett's compact tragedy of regret and self-examination.
Last month, TCG released its most recent annual "Theatre Facts" report, which examines the fiscal health of the professional nonprofit theater sector in the U.S. at the end of 2010.
Featuring a flurry of action and little substance, Susan Eve Haar's new play is swallowed up by a supernatural premise that takes precedence over its characters.
David Jenkins' play's message doesn't get beyond the decline of the American mail service, and director Josie Whittlesey relies on too much shouting.
Though drag royal Lady Bunny's sense of humor is as sharp and as vicious as ever, her one-woman show lacks the dynamism and original material to sustain a full evening.
