Gerard Raymond

Twist discuss his work, new and old, and the direction he's going in as we approaches 50.

If there’s a constant in Jordan Harrison’s body of work, it’s his ability to surprise.

Shaw and Weaver discuss the production and why it remains so important for them to keep the spirit of the Split Britches alive.

We talked to Urie about what it was like taking on the role originally made famous by the playwright Harvey Fierstein himself nearly four decades ago.

DeBessonet sits down with us to discuss directing her first Shakespeare in the Park production.

The acclaimed playwright sat down with us to discuss his funny and moving love story, which will premiere at the Public Theater.

Silverman discusses her current production and her relatively new foray into the world of musicals.

From his home base in Paris, Brook discusses bringing back The Mahabharata to BAM in the form of Battlefield.

When we sat down with Nelson, he was in the midst of rehearsing What Did You Expect?, the second play of his current cycle at the Public.

We talked recently with Wohl and Chavkin about their collaboration on this unusual and compelling theater project.

Wolfe discusses the legendary musical from 95 years ago and what fires his enthusiasm for this current Broadway production.

“Finally I’m in a place where I’m doing the kind of work I want to do, and I’m being seen in the way that I want to be se…

The actor discusses the making of Spotlight and his urgent desire to play his character in a way that was at once truthful and necessarily representative.

In a series of challenging roles on the stage, Thomas is carving out a new life for himself.

Affable, down to earth, and with no axes to grind, he spoke to us frankly about Tab Hunter: Confidential and his closeted gay life during the 1950s.

We sat down with Gurney to discuss his latest work, how his plays have been labeled, and the risk that often comes with putting so much of himself, and his family, on the stage.

Christopher was eager to talk about how he was able to restore his 1998 film 54 to its original glory.

At 80 years of age, the iconoclast evinces the same passion that has animated his provocative work up to this point.

You don’t easily forget Lypsinka—those eyes, the hands, and the rubbery lips that give new life and meaning to the mashed-together snatches of songs, dialogue, or just screams, pre…

Over the past decade she’s become an expert at staging the work of, arguably, our greatest living dramatist, who’s also known to be exacting about how his plays are handled.