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We talked to Urie about what it was like taking on the role originally made famous by the playwright Harvey Fierstein himself nearly four decades ago.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.
Silverman discusses her current production and her relatively new foray into the world of musicals.
It provides a clear and winning way in which to wring magic from the old, and features several stunning illusions.
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.
Round and round Gillian Anderson’s Blanche DuBois goes, and where she stops, everyone knows.
This production is shadelessly lit for much of its runtime, evoking the drama’s openness, or at least its frankness.
I was so stunned by how many fucks it didn’t give that I stopped wondering if I was laughing with it or at it and wondered if my laughter transcended it.
Wolfe discusses the legendary musical from 95 years ago and what fires his enthusiasm for this current Broadway production.
The bracing final moment, in which the servant Firs discovers he’s locked in the house, is a coup de theatre.