The play depends especially on the strength of its leads, and here it has two eager thespians who make the most of its drama.
The play’s always-at-arm’s-length subtext makes it hard for us to appreciate or connect with the material on an emotional level.
The play is positioned as a coping mechanism for Heidi Schreck and, by extension, the audience.
Despite some realistic touches, Straight White Men, as directed by Anna D. Shapiro, goes to lengths to call out its artificiality.
It’s clear that at 70, the trail-blazing author of the seminal work Gender Outlaw is still a formidable force to be reckoned with.
We spoke to the Belgian-born titan of the theater about the experience of bringing new life to Visconti’s provocative The Damned.
The Band’s Visit, Angels in America, and Rodgers & Hammerstein’s Carousel snagged 11 nominations.
Twist discuss his work, new and old, and the direction he’s going in as we approaches 50.
As a performer, Joshua Jackson is sober and endearing, projecting goodness.
At Home at the Zoo, the last name Albee picked for one of his works, carries as much weight as one can ask of a name.
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We talked to Urie about what it was like taking on the role originally made famous by the playwright Harvey Fierstein himself nearly four decades ago.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.
When Measure for Measure’s noisy stage business quiets down, Simon Godwin’s production is powerful.
The acclaimed playwright sat down with us to discuss his funny and moving love story, which will premiere at the Public Theater.
The revival of Martin McDonagh’s The Beauty Queen of Leenane is a funny and crushing production.
The show gravitates toward campy burlesque, but the creators have their fun and eat it too.