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TheatreWorks Silicon Valley continues its 51st season with the hit musical Ragtime. This sweeping and stirring musical masterpiece paints a portrait of America at the dawn of the twentieth century, interweaving the lives of three families—an African American family, a Jewish Immigrant family, and a wealthy white family—finding their places and pursuing the American Dream in a rapidly changing world. Featuring a Tony Award-winning book by Pulitzer Prize finalist Terrence McNally (Master Class, Kiss of the Spider Woman, The Rink) and a Tony Award-winning score by Stephen Flaherty and Lynn Ahrens (Once on This Island, Anastasia, Seussical The Musical), this musical is based on E. L. Doctorow’s best-selling novel of the same name. Ragtime will be presented June 1-26, 2022 (press opening: June 4) at the Mountain View Center for the Performing Arts. For tickets (starting at $30) and more information the public may visit TheatreWorks.org or call (877)-662-8978.

BroadwayWorld speaks to Broadway star Christine Dwyer about playing 'Mother' in TheatreWorks Silicon Valley's new production of 'Ragtime,' which runs live in Mountain View June 1 to 26.

BroadwayWorld speaks with Bay Area theater legend Robert Kelley about his new production of 'Ragtime' running live in Mountain View through June 26th.

This sweeping and stirring musical masterpiece paints a portrait of America at the dawn of the twentieth century, interweaving the lives of three families—an African American family, a Jewish Immigrant family, and a wealthy white family—finding their places and pursuing the American Dream in a rapidly changing world.

Barrington Stage Company has announced casting for the first two shows of its 2022 season: the 1978 Tony Award-winning Best Musical Ain’t Misbehavin’: The Fats Waller Musical Show, and the world premiere play, Andy Warhol in Iran by Brent Askari (BSC’s American Underground) which opens the St. Germain Stage from June 2-25.

In its first appearance on vinyl, the Original Broadway Cast Recording of Ragtime – featuring the Tony Award-winning score by composer Stephen Flaherty and lyricist Lynn Ahrens – is celebrated in a commemorative “red, white and blue” collectors limited edition, available everywhere now from Masterworks Broadway.

Meet all of the Broadway actors in THE GILDED AGE! The new series features appearances by Audra McDonald, Denée Benton, Celia Keenan-Bolger, Kelli O'Hara, Carrie Coon, Claybourne Elder, Donna Murphy, Katie Finneran, Debra Monk, Taylor Richardson, Douglas Sills, Jeanne Tripplehorn, Patrick Page, Michael Cerveris, and more.

The Fulton Theatre embarks on the largest production in its history, with Rodgers and Hammerstein's Cinderella. Over 250 custom and handcrafted costumes, commissioned and created in collaboration with Maine State Music Theatre, will sparkle underneath the stage lights and invite audiences into the magical world of LIVE theatre.

Live theatre is officially back and Concord Theatricals is celebrating! 'There's No Business Like Show Business' is a digital celebration that launched just last month, marking the return of live theater and all of the incredible people who help to make it happen. The celebration coincides with the 75th anniversary of Irving Berlin's Annie Get Your Gun and its iconic showstopper 'There's No Business Like Show Business,' a song that has more resonance than ever this year.

Historical themes have always been incorporated into stage shows, from classic Broadway musicals to contemporary productions. Contrary to what some may believe, not all historical-themed productions are old Broadway musicals. Several historical musicals have gone on to become classics, though this is not specifically a golden age musicals list.

Skylight Music Theatre today announced the cast and creative team for the 2021-22 season opener, The Full Monty, running September 24 – October 17, 2021. Performances will take place in the beautiful Cabot Theatre at the Broadway Theatre Center, 158 N. Broadway, in Milwaukee's Historic Third Ward. Skylight is Milwaukee's professional Equity music theatre company.

TheatreWorks Silicon Valley will resume in-person performances when it launches its previously announced 51st season, featuring eight plays and musicals presented October 2021 through August 2022, kicking off with the new indie folk-rock musical Lizard Boy.

San Francisco’s Landmark Musical Theatre has announced the titles for the Company’s upcoming in-person 2021-2022 season.

Today's Theater Stories features the Lyric Theatre! Learn about the history of the Lyric Theatre, and the shows to have graced its stage including Jesus Christ Superstar, The Pirate Queen, Young Frankenstein, Spiderman: Turn off the Dark, Harry Potter and the Cursed Child and more.

The criteria are that these shows have been nominated for Best Musical from the 3rd Tony Awards (the ceremony that started the Best Musical category) in 1949 to the nominations of what will now be the 74th Tony Awards in 2021. I will be determining their signs based upon their Broadway premiere date. With those rules in mind, here we go!

With Women in Theatre Through the Decades, we will be highlighting the vital role that women have played in theatre history, showcasing those who paved the way and who continue to make history today. This week, we are highlighting the accomplishments of women in theatre throughout the 1980s and the 1990s!

The Harlem Cultural Collaborative closes out the 2020 Harlem Renaissance community centennial celebration with Strike Up The Band: HBCUs Marching Into The Harlem Renaissance. on Saturday, December 12th at 4pm.

TheatreWorks Silicon Valley's Artistic Director Tim Bond and Executive Director Phil Santora announced today that the Tony Award-winning theatre will postpone the opening of its 51st mainstage season to March 2021, with eight plays presented through May 2022.

Terrence McNally, the legendary American playwright, screenwriter, and librettist will posthumously receive The Dallas Opera's most prestigious honor, 'The Maria Callas Award,' in recognition of his contribution to two landmark events in the company's history.

TheatreWorks Silicon Valley's Founding Artistic Director Robert Kelley, Artistic Director Designate Tim Bond, and Executive Director Phil Santora announced changes to TheatreWorks's 2020-21 Season, which is now scheduled to begin in October 2020.

A single-act show, it could use an occasional shot in the arm. Some of the songs drag and none are especially memorable. As bus stories goes, the pacing is a long, long way from Speed. The central love triangle between Violet and two boys on the bus (military officers Monty and Flick) feels all too familiar, and its engagement with the theme of interracial romance (Flick is African-American, Monty and Violet are white) feels underserved in a show that is ultimately about self-shame and misguided faith. Still, the show...

Whether he is best known to audiences from his work in film (Ragtime, Yentl, The Princess Bride), on television (Chicago Hope, Criminal Minds, Homeland) or on Broadway (Evita, Sunday in the Park With George, The Secret Garden, The Wild Party), Mandy Patinkin has embodied countless unforgettable characters, created memorable moments in performance that continue to resonate with his fans and established himself as a star whose light continues to shine brightly and vividly.

Paper Mill Playhouse (Mark S. Hoebee-Producing Artistic Director, Michael Stotts- Managing Director), recipient of the Regional Theatre Tony Award, begins the new year with the world premiere Unmasked: The Music of Andrew Lloyd Webber with music by Andrew Lloyd Webber and written with Richard Curtis. Unmasked: The Music of Andrew Lloyd Webber begins performances Thursday, January 30, 2020, and will continue through Sunday, March 1, 2020 at Paper Mill Playhouse (22 Brookside Drive, Millburn, NJ). JPMorgan Chase & Co. is the major sponsor of Unmasked: The Music of Andrew Lloyd Webber. Paper Mill Playhouse's 2019-2020 season is proudly sponsored by Investors Bank. Opening Night is Sunday evening, February 9, 2020 at 7:00pm.

At first glance, the musical stage adaptation of ANASTASIA looks and feels like an appropriately grand, luxe affaira?"from its gorgeous costumes designed to the lush soundscapes created by the orchestra and the vocal talents that have been assembled for this tour. But the undeniable wow factor of the show is, of course, the stunning visual trifecta of its scenic design working in keen harmony with dazzling projections and stage lighting. The overall technical prowess of this stage musical is just jaw-droppinga?"and, I must say, is quite an adequate enough reason to experience the show. The adaptation's execution of the story itself, however, suffers slightly from its well-meaning intentionsa?"revealing a stage show that feels stilted by its own drama, and with an unsure footing of what it truly wants to be.

The first clue that ANASTASIA was going to be different than what I expected was a note on the title page reading, “Inspired by the Twentieth Century Fox Motion Pictures.” Plural? A savvy journalist, I quickly asked Siri to bring up the imdb page for “Anastasia”. Turns out Fox made ANASTASIA twice, the 1997 animated off-brand Disney princess movie and a 1957 film that scored Ingrid Bergman's second Oscar and marked Helen Hayes' transition to the big screen. And it turns out the musical version has more in common with LES MISERABLES and RAGTIME than BEAUTY AND THE BEAST. Gone is the hell-wizard Rasputin, his talking fruit bat sidekick, and the singing demon caterpillars. At intermission, I asked my third grade niece, Adalyn, how she was liking it. “It's awesome…it's real people, like no Beast or anything. No animals.” We decide that Disney staged musicals are great but more it's more impressive when you can achieve the magic without a story that departs from reality. ANASTASIA is historical fiction hypothetical. It poses a “what if…?” that a daughter of the last czar of Russia (The Grand Duchess Anastasia Nikolaevna) escaped when the czar's family was executed in 1918. Rumors persisted for decades that Anastasia did, in fact, escape. In 2007, DNA testing confirmed the remains of all four Grand Duchesses were in the Imperial grave. In this version, Terrence McNalley's book follows Anastasia's rediscovery of her identity after surviving the attack on her family and sustaining some plot enabling amnesia. Renamed “Anya” she grows up and makes a life in post-Revolution Russia. Anastasia's grandmother, the Dowager Empress (in a staggeringly moving performance by Joy Franz) has fled to France and offered a cash reward for anyone escorting the rumored alive Anastasia to Paris. The wily duo Vlad (Edward Staudenmayer) and Dmitry (Jake Levy) pull a My Fair Lady style makeover on Anya to collect the Dowager's prize. They are pursued by Gleb (Jason Michael Evans). A Soviet officer drawn to Anya romantically but tasked with finding and eliminating the last Romanov. Anya's memory becomes somewhat coaxed back, but the Dowager has stopped seeing Anastasia claimants after too much heart-break from countless frauds. It sounds dark, but with high-tech digital scenery and inspired performances across the cast it is delightful. Stephen Flaherty (Music) and Lynn Ahrens (Lyrics), responsible for bringing us RAGTIME, ONCE ON THIS ISLAND, LUCKY STIFF, as well as the Oscar nominated songs carried over from the animated film. ANASTASIA is a perfect context for this pair. “Stay, I Pray You” (my favorite song of the evening) is evocative of RAGTIME's “New Music”. The two songs literally race my heart in a strangely specific way. My real test of a National Tour at Gammage is how fast I get the music playing in my car on the way home. At ANASTASIA I was already finding, “Stay, I Pray You” walking through the parking lot. The rest of the score is similarly haunting. Lila Coogan, as Anya/Anastasia, powers through the score with nuance, clarity, and passion. Tari Kelly, as Countess Lily, and Stadenmayer (Vlad) were Adalyn's favorite performances and I have to agree. This incredibly gifted pair take the “triple threat” designation (singer, dancer, actor) and go quadruple with the addition of flawless comic timing. The choreography by Peggy Hickey is masterful. It somehow combines inventive and traditional throughout and the ten-minute slice of “Swan Lake” infused into “Quartet at the Ballet” is the highlight of the second act. It's a fun-size version that gets an under-represented art form onto the plate. This kind of trope often means the plot putting the plot on hold. But here, it is the connective tissue between Anya, Dmitry, the Dowager, and Gleb as they each bring us up to speed heading into the show's climax. Ultimately, the show's success comes from applying a higher artistic standard to the “previously-animated-film-now-theatrically-staged” genre. It cashes in on the name draw of the 1997 film then gives the viewer something much more enriched than what they think they are coming to see.