Even though three couples are the focus of Richard Maltby (lyrics), David Shire (music) and Sybille Pearson's (book) musical called BABY, there's a very good reason the title is singular and not plural.
If you're looking for a book on contemporary musicals that's as entertaining as it is informative, you can't go wrong with Scott Miller's new book, SEX, DRUGS, ROCK & ROLL, AND MUSICALS.
The late 1960's were a time of great social upheaval, and race riots broke out in a number of major cities, leading to what has been termed 'white flight', as the Caucasians abandoned the urban areas for the suburbs.
Muddy Waters Theatre end their season dedicated to playwright Paula Vogel with her award-winning work, HOW I LEARNED TO DRIVE, and it's easily the most accomplished and straightforward of her plays.
Before there was South Park, Team America, Orgazmo, or even The Book of Mormon, Trey Parker completed a film that's become a cult favorite; CANNIBAL! THE MUSICAL.
The stage continues to mine the movies for product, and sometimes it strikes gold (High Fidelity-although not hugely successful was, for me a better musical than a movie) and sometimes it strikes tin.
I'm a completely unabashed fan of George Romero's 1968 classic film NIGHT OF THE LIVING DEAD.
There's something very funny, yet very sad about the two characters in Rajiv Joseph's bittersweet work GRUESOME PLAYGROUND INJURIES.
I don't know if playwright Annie Baker ever attended a six week community summer drama class like the one depicted in her wonderful work, CIRCLE MIRROR TRANSFORMATION, but it has the painful ring of truth that makes you think she may have at one time.
How would you react as a parent if your ten year old son was smacked in the face with a stick with resulted in a fat lip and a couple of lost teeth? Would you be able to keep you cool? Would you just immediately contact the police or a lawyer and deal with it from that perspective? Well, I'm not sur
The Missouri History Museum is a perfect venue for Chuck Lavazzi's retooled cabaret show JUST A SONG AT TWILIGHT, since it allows a number of slides to be projected (courtesy of Marjorie Williamson) which give life to Lavazzi's recollections of the golden age of vaudeville.
Federico Garcia Lorca's tragic play, BLOOD WEDDING, which Upstream Theater is currently presenting, is given a lyrical translation by Langston Hughes and a stunningly dark adaption by Melia Bensussen.
Pete Townshend and the Who's seminal rock opera classic TOMMY comes to the stage of the Tower Grove Abbey courtesy of Stray Dog Theatre adorned in steam punk fashion and scenic design.
Playwright Neil Labute's REASONS TO BE PRETTY is the third in a trilogy of plays focusing on the modern day obsession with the way people look, following Shape of Things and Fat Pig.
HENRY V may well be the only one of Shakespeare's histories where no one is trying to oust the king of England.
A lot the single panel cartoons of Charles Addams appeared in The New Yorker, and a lot them didn't feature the particular characters we know and fondly remember as the Addams Family, they just had an offbeat sense of the bizarre, and often featured completely different characters.
Just about every artist or creative type struggles with their home situation.
MARK NIZER is a juggler extraordinaire, and there's simply no denying that fact once you're able to watch him work his artistry up close and personal.
Playwright Claudia Shear (with an assist in conception from James Lapine) has constructed an interesting take on your typical showbiz biography.
Written, directed, and musical score composed by three mothers of children with autism THE VIOLINIST also stars a child with autism in a lead role.
