For those of us who began making regular pilgrimages to Palsson's Supper Club back in the early 80s to see Gerard Alessandrini's smart new revue pack with parody lyrics and impersonations that skewered the gods and goddesses of Times Square, Broadway just isn't Broadway without FORBIDDEN BROADWAY ar
As Maira Kalman's illustrated curtain rises for David Byrne's choreographed concert, which takes its name from his 2018 album, American Utopia, the singer/songwriter is seriously contemplating the human brain.
Bucking the current trend of rewriting and reinterpreting older musicals to suit current sensibilities, director Michael Mayer's buoyant and bouncy revival of Little Shop of Horrors, with a story involving a hero who murders and a leading lady who defends the actions of her physically abusive boyfri
Long before Broadway's saturation with jukebox musicals and song catalog shows, Ben Bagley, a producer of modestly-financed Off-Broadway revues, added to what was then musical theatre's long title trend (HOW TO SUCCEED IN BUSINESSWITHOUT REALLY TRYING, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM.
'Beyond her somewhat forgiving brown eyes,' the subject of Adam Rapp's subtly riveting character study, The Sound Inside says of herself, 'your narrator could be described as unremarkable.
The preteens dressed in their matinee finest seemed to be having a swell time when this critic attended The Lightning Thief: The Percy Jackson Musical.
A version of American, and of American musical theatre, as seen through a Chinese lens as inaccurate as Rodgers and Hammerstein's lens when focused on Siam.
The countless number of pink plastic flamingoes populating the upstage reaches is your second clue that director Tripp Cullman, that master of finding touching emotions through a quirkily altered reality, does not have naturalism on his mind for Tennessee Williams' The Rose Tattoo.
Songwriter Ross Golan has frequently ranked high in the pop charts with hits for the likes of Ariana Grande, Selena Gomez, Nicki Minaj and Justin Bieber, and for his first venture into musical theatre, he's got some pretty high-ranking stars on his team as well, in director Thomas Kail, music superv
It may not be recognized by the U.
If there ever was a demand for greater representation on Broadway stages for straight, single, cisgender white guys in their 50s who are insensitive to the women he manages to date and have sex with, Tracy Letts' Linda Vista would surely fill the void.
The desire to see our current president out of office as soon as possible can be regarded as a bit of common ground between the five conservatives depicted on stage and the liberals who traditionally populate the vast majority of seats at non-profit Off-Broadway theatres.
As explained in his program notes, playwright Jeff Augustin moved from Miami to attend college in Boston; envisioning New England as a liberal mecca where he could pursue his American Dream while freely exploring his identity.
Slave Play ventures into subject matter the likes of which this playgoer has never seen presented on Broadway, and does so in a bold, even outlandish manner that should be admired and welcomed.
Say what you will about ANYTHING GOES and KISS, ME KATE, but for this musical theatre lover, there's no finer Cole Porter score than the one he whipped up for the 1929 hit, Fifty Million Frenchmen.
You might call John Kevin Jones the 'resident author' of East 4th Street's 1832 landmark Merchant's House Museum, though not in the traditional sense.
With its moniker giving a nod to John Coltrane's 'A Love Supreme,' the fast and funny improv hip-hop show created by Lin-Manuel Miranda, Tommy Kail and Anthony Veneziale started playing gigs around town way back during Broadway's pre-rap era, leading to an Off-Broadway production last season that ha
With its title taken from our 36th president's campaign slogan, Robert Schenkkan's exciting and energetic drama ALL THE WAY won the popular vote on the 2014 Tony Award Best Play ballot.
Imagine if Henry Higgins had wanted Eliza to end up with Freddy all along and you'll get a sense of where George Bernard Shaw was heading with his 1898 comedy of political maneuvering, Caesar and Cleopatra, which premiered over a dozen years before his more enduring classic, PYGMALION.
Even the most jaded New York playgoers who may start feeling a bit blasé about entering a theatre and seeing a large pool of water on the stage (Jeremy O.
