8,501 stories from Backstage
The dramedy project, from "Sex and the City" executive producer Darren Star, follows a woman (Leslie Bibb) who moves back to her Dallas neighborhood after a divorce.
The 42nd annual Los Angeles Drama Critics Circle Awards were presented Monday evening, March 14, in a festive ceremony, attended by a capacity crowd, at Burbank's Colony Theatre.
After being denied a dollars by Michigan's film offices, Sandy Frank has delivered a sublimely angry 42-page lawsuit that basically rips Michigan officials for being hypocrites with poor ta…
Virginia Woolf is not afraid of anyone as she takes her audience and readership to task in this wearying but fascinating solo show from director Anne Bogart.
Matt Pelfrey's dramatization of novelist Clifford Chase's satire of all things current scores some salient points but undercuts itself by plunging too deeply into absurdity.
Metropolitan Playhouse's assured production of William Vaughn Moody's groundbreaking psychologically nuanced melodrama features strong acting as it flies by in a taut two hours.
This romantic comedy may have been a riot in 1965, when it was a hit on Broadway, but today it's a broken-down clunker.
In this prequel to "Peter Pan," directors Alex Timbers and Roger Rees and playwright Rick Elice create an imaginative and wildly entertaining Victorian-music-hall spoof.
Director Terry Schreiber and his talented actors largely succeed in pulling off David Storey's expansive exercise in plotless naturalism, despite being hampered by a tiny theater.
Like a Sabbath stew that's been boiled and spoiled, there are too many ingredients in Chana Porter's new play, and the result is theatrical indigestion.
Director Gregory Mosher's reverent revival of Jason Miller's 1972 mutliple-award-winning drama only succeeds in highlighting the dated script's flaws, despite the efforts of a mostly strong …
This moral fable of contemporary Ireland—written, performed, and accompanied at the piano by Raymond Scannell—is a story that more often bewilders rather than informs.
Spectacular visual effects are sabotaged by an inert history lesson about spies concerning a Spanish dictator, a Nazi intelligence chief, and a British Communist double agent.
B.H. Barry stages bracing battles and scintillating sword fights in this stage version of Robert Louis Stevenson's classic, but when the brawling stops, the action grinds to a halt.
This superior children's entertainment from Britain presents a world of wonder in a remarkably inventive production to be savored by those, young and old, who seek theatrical magic.
This funny, energetically staged production of Dion Boucicault's witty Irish comedy, set in 1798 in the midst of the Irish Rebellion, falters only when things turn romantic.
Musical-theater actor–turned–porn star Tom Judson glides through this somewhat ramshackle autobiographical one-man show with a twinkle in his eye and a song in his heart.
In the second major production of William Shakespeare's classic this season, F. Murray Abraham gives us a subtler Shylock than Al Pacino's.
The Rude Mechanicals theater company turns ensemble theater into a metaphor for life in this intelligent, funny, and moving new work about an acting guru and her students.
Playwright David Lindsay-Abaire's "Good People" is full of interesting characters and sharply written scenes, which combine to paint an indelible portrait of a social milieu.
Despite some problematic audibility, here is a rare chance to see a decent production of a watershed but seldom-performed 1677 Restoration comedy—and the price is right: It's free.
In the first scene of "The Legend of Buster Neal," the title character sits on a rocking chair listening to an offstage member of the Klan threatening him and his family.
Elisa Monte Dance launched a weeklong season at the Joyce Theater with an opening-night gala featuring four works choreographed by Monte over a span of 32 years.
The thunderous songs by Underworld that rock St. Ann's Warehouse as theatergoers enter the house for Bryony Lavery's "Beautiful Burnout" set the heart racing.
Director Barry Edelstein deftly draws parallels to the current financial crisis in a modern-dress version of this obscure Shakespearean curio.
