As someone who has indulged in all the creations concocted by the genius director/choreographer Austin McCormick for his spectacular mix of performing artists, Company XIV, since the early years of this century when they displayed their talents in modestly-scaled productions on East 4th Street, this
For BLOODY BLOODY ANDREW JACKSON, Michael Friedman whipped up an emo rock score that comically skewered white male privilege.
If it were up to Billy, the sweet-natured Unitarian pastor who opens Hilary Bettis' 72 Miles to Go.
From the Marin Headlands, a hilly peninsula north of San Francisco that overlooks the Golden Gate Bridge, a father points out to his ten-year-old son the spot across the bay where he first met the boy's mother.
After spending two full careers as a Broadway composer, first writing jazzy smash hits with lyricist Lorenz Hart and then adapting more dramatic and character-driven styles for scores penned for classics with Oscar Hammerstein II, Rodgers, upon his second partner's passing, for the first time suppli
Even the best written of Broadway's jukebox musicals tend to sacrifice dramatic content in order to showcase the beloved hit songs that fans came to hear.
It seems every four years, as political primaries come upon us, Americans start thinking more about those far off people in drastically different communities we share this country with.
Family secrets, political history, moral dilemmas in the face of genocide and loud, kick-ass rock tunes mix terrifically in Lauren Yee's gripping and (for this reviewer) informative new drama Cambodian Rock Band, an often horrifying, but ultimately exhilarating reminder that if there's one thing tot
'I'm tired of Negro dreams.
'Revitalized' is the new euphemism for 'about 80% rewritten', or at least it appears that way in regards to the new musical that carries the name The Unsinkable Molly Brown.
It's been said that movies are made in the editing room.
'The text has been 'scored',' states the script for British playwright Alice Birch's Susan Smith Blackburn Prize-winning Anatomy of a Suicide, a fascinating, tragic piece about a neurological legacy shared by three generations of women, now receiving a fine American premiere at the Atlantic's Linda
Count this reviewer among those who, contrary to conventional musical theatre wisdom, never thought there was anything horribly wrong with Michael Stewart's original book for MACK & MABEL, the big, splashy 1974 musical about silent movie director Mack Sennett and the star he discovered, Mabel Norman
Dear kindly Ivo van Hove, I often like your work, But when you stage revivals Your concepts go berserk.
'Welcome to our meeting,' greet the actors to those entering the intimate Paradise Factory for The Seeing Place Theater's very engaging production of Brandon Walker's adaptation of George Orwell's allegorical classic, ANIMAL FARM.
In this version, Count Dracula is not an obvious outlier with fangs and pale skin, but a charming fellow you'd never suspect is spreading the acceptance of patriarchal attitudes and gender roles through his seductive bites.
The first thing that happens in director Timothy Douglas' Classic Stage Company mounting of Tristan Bernays' adaptation of Mary Shelley's beloved gothic novel, Frankenstein, is that actor/musician Rob Morrison, playing a one-member chorus, comes out on stage and tunes the three string instruments h
Back in the days before multiple workshops and lengthy regional runs, the geniuses of musical theatre often had to work miracles during of-of-town previews to quickly revise and rewrite surefire flops like HELLO, DOLLY! and A FUNNY THING HAPPENED ON THE WAY TO THE FORUM into Broadway hits.
'You know, I hate your plays,' the great Russian dramatist Anton Chekhov once recalled the exalted Leo Tolstoy telling him during a friendly visit.
The internationally-known standup who first brought his Jewish-focus material Off-Broadway in 2018 with STRICTLY UNORTHODOX arrives at the SoHo Playhouse with a show inspired by his friendship and professional collaboration with Muslim standup Imran Yusuf.
