Horton Foote's THE ORPHAN'S HOME CYCLE Featured in The Christian Science Monitor
Horton Foote's THE ORPHAN HOME CYCLE, currently playing at the Signature Theatre, is featured in the current issue of Christian Science Monitor.
Horton Foote's THE ORPHAN HOME CYCLE, currently playing at the Signature Theatre, is featured in the current issue of Christian Science Monitor.
Arizona Theatre Company presents George Is Dead, a new comedy by acclaimed writer and director Elaine May.
New Repertory Theatre, in residence at the Arsenal Center for the Arts, is pleased to present Speed-the-Plow a drama by David Mamet.
According to a report in the New York Post, off-Broadway star Shami Chaikin, sister of the late, famed director Joseph Chaikin, was critically injured in Greenwich Village on Bleeker Street and 8th Avenue yesterday morning when a garbage truck hit her on her mobility scooter.
Tremont's resident theatre company, convergence-continuum, completes its 2009 season at the Liminis theatre with the reversible play OUROBOROS, Tom Jacobson's mysterious and intellectually challenging new puzzle, featuring two plays in one.
On the heels of the well-received ensemble piece, 'Three Tall Women,' and the daring and quirky 'The Lady from Dubuque,' Muddy Waters Theatre Company wraps its 2009 Edward Albee season, Mothers and Other Strangers, with what is probably his best known and most respected play, 'Who's Afraid of Virgin
Famed performance space Joe's Pub has announced a revised upcoming line up of event in November and early December.
To mark AMERICAN THEATRE magazine's 25th Anniversary in April 2009, Theatre Communications Groups (TCG) honored the publication by publishing The American Theatre Reader, a 640-page compilation of significant and insightful articles, essays and interviews from the magazine's first quarter century.
THE ORPHANS' HOME CYCLE, the world premiere of a three part theatrical event by the Pulitzer Prize and Academy Award-winning playwright Horton Foote, begins performances on Thursday, November 5 at Signature Theatre Company at the Peter Norton Space, 555 West 42nd Street, between 10th and 11th Avenue
The title character - well, actually the title prop - of Sam Shepard's new entry, Kicking a Dead Horse, doesn't have to lift a hoof to make an impressive star entrance.
That happy gentleman on the left is the legendary American playwright Robert Patrick, and what he has in his hands is a long-time dream of his; a plaque to commemorate the life of Joe Cino.
There's a great moment in Cecil B.
Robert Patrick, that legendary pioneer of Gay Theatre, may spend most of his time on that other coast these days, but his heart always remains at a little storefront on Cornelia Street that once housed the birthplace of Off-Off Broadway, the Caffe Cino.
In A Life of the Mind, Pulitzer Prize winning playwright Sam Shepard depicts the aftermath of a romance torn apart by spousal abuse and the war that breaks out between two families.
On the heels of the well-received ensemble piece, Three Tall Women, and the daring and quirky The Lady from Dubuque, Muddy Waters Theatre Company wraps its 2009 Edward Albee season, Mothers and Other Strangers, with what is probably his best known and most respected play, WHO'S AFRAID OF VIRGINIA WO
-A 32-person ensemble of 24 high school students and 8 teachers from Chicago Public Schools (CPS), led by a team of Chicago Shakespeare Theater (CST) artists, is preparing for a four-week intensive rehearsal, beginning on September 26, culminating in a 60-minute adaptation of William Shakespeare's p
-A 32-person ensemble of 24 high school students and 8 teachers from Chicago Public Schools (CPS), led by a team of Chicago Shakespeare Theater (CST) artists, is preparing for a four-week intensive rehearsal, beginning on September 26, culminating in a 60-minute adaptation of William Shakespeare's p
CoHo Productions presents Fool For Love by Sam Shepard Co-Producers Chris Harder and Val Landrum, also starring.
Horton Foote, the Pulitzer Prize and Academy Award-winning author of THE ORPHANS' HOME CYCLE is featured in a Critic at Large essay by John Lahr in The New Yorker, in the issue for the week of October 26, 2009.