Without knowing any better, one might easily mistake the new stage adaptation of Harper Lee's Pulitzer-winning 1960 novel 'To Kill A Mockingbird' for a revival of a classic Golden Age Broadway drama.
The inherent problem with trying to craft a book musical around a score made of previously-existing hit songs is that the lyrics rarely match the character/situation specifics enough to keep the story moving.
It was fifteen years ago when over forty million people tuned into the season two finale of 'American Idol' to see Rubin Studdard win the crown over runner-up Clay Aiken.
The lack of visible doors in our view of the home of the title character of Heather Raffo's drama of an immigrant Christian Iraqi family in America, Noura, appears more and more to be a symbolic gesture once it becomes apparent that her story takes its cue from Henrik Ibsen's A DOLL'S HOUSE.
It was over fifty years ago when designer Boris Aronson famously let a large mirror hang from the set of CABARET, forcing audience members to see their own reflections to bring home the point that what was happening in 1930s Germany could very well happen in America.
For the past five holiday seasons in a row, savvy New York playgoers have been filling the upstairs parlor of East 4th Street's Merchant's House Museum for a warm and intimate evening of Christmas cheer; Summoners Ensemble Theatre's delightful production of actor John Kevin Jones recreating Charles
The audience loudly booed at the end of last Saturday night's preview performance of the new Broadway offering based on Paddy Chayefsky's Oscar-winning screenplay for the 1976 film classic "Network.
From the moment the houselights dim and the music cranks up on The Cher Show, Broadway's newest bio-musical, the message is clear.
Since family-friendly entertainments tend to dominate the holiday performing arts scene, it's especially cheery that for the past nine years that scandalous crew called Company XIV has been offering grownups an option that's decidedly more naughty than nice.
If there's such a thing as subtlety in the world of The Illusionists, that band of touring magicians that have frequently been making Broadway their winter home, it's evident in their latest visit, titled MAGIC OF THE HOLIDAYS.
'If you have to choose between family and flying, I hope you would choose the flying,' a father tells his children as the lesson behind a bedtime story involving an angel and a woodcutter.
Yes, in the world of Tom Stoppard, post-coital pillow talk can be a debate about human consciousness and whether or not altruism truly exists.
The lack of permanence that allows new artists endless chances to bring their own interpretations to classic material is the most significant aspect that separates live theatre from movies and television.
No, director/designer John Doyle does not have Raul Esparza wearing a blonde wig when he delivers his climatic oratory at the close of CSC's revival of Bertolt Brecht's 1941 allegorical satire, THE RESISTIBLE RISE OF ARTURO UI, but listen closely to the chant of the crowd provided by sound designer
For those of us of a certain age, the phrase "good grief" has been a part of our vocabulary since childhood as simply an expression of exasperation, thanks to the influence of Charles Schulz and his Peanuts gang.
Steve Rosen and David Rossmer's pop rock musical charmer THE OTHER JOSH COHEN has been hitting the regional circuit a bit since its 2012 Off-Broadway production that picked up Drama Desk, Lortel and Off-Broadway Alliance Award Nominations for Best Musical.
Though it often involves individuals speaking prepared material into a microphone in front of paying customers who may be enjoying a libation or two, and though generating laughter is usually a good sign of success, the art of storytelling should not be confused with stand-up comedy.
'We are a great country,' presidential candidate Robert F.
