Feeds
Two strikingly different musicals, "Fela!" and "La Cage aux Folles," dominated the star-laden 2010 Tony Awards nominations.
Lynn Redgrave, an introspective and independent player in her family's acting dynasty who became a 1960s sensation as the unconventional title character of "Georgy Girl" and later dramatized her troubled past in such one-woman stage performances as "Shakespeare for My Father" and "Nightingale," has died. She was 67.
Sherie Rene Scott to the rescue.
Teacher vs. pupil. Let the conflict begin.
The financial finagling is not as much fun as it should be in "Enron," a flashy yet lumbering docudrama that has arrived on Broadway trailing rave reviews from England, where maybe they take a much keener delight in all-American chicanery.
Family, particularly fathers and sons. Can there be a more inexhaustible topic for great playwrights?
The hypnotic Burt Bacharach beat remains undiminished some four decades after it was unleashed in "Promises, Promises," the 1968 musical now getting an agreeable if not altogether transporting revival on Broadway.
There are a lot of wonderful moments, some intensely personal, in "Sondheim on Sondheim," the Roundabout Theatre Company's revelatory revue celebrating Stephen Sondheim's theatrical career.
Is there a more appealing, entertaining argument for motherhood than "La Cage aux Folles"? Especially when mother is a quixotic, neurotic but undeniably goodhearted drag queen played by Douglas Hodge, who, by the way, is giving the most exuberant musical-comedy performance of the season.
Put Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis in a Memphis recording studio and you're bound to make musical fireworks. Maybe even a Broadway show.
"Anyone Can Whistle" has an amazing score and an impossible book.
If you want to know why musical comedy is such a difficult art form to master, a prime example is now on display at Broadway's Lunt-Fontanne Theatre where "The Addams Family" has fitfully burst into story and song.
The frantic foolishness that fuels "Lend Me a Tenor" has not diminished in the two decades since the Ken Ludwig comedy's initial New York appearance.
The super-cool song stylings of Frank Sinatra have been given an additional layer of sexiness in "Come Fly Away," Twyla Tharp's libido-charged love letter to romance, not to mention the man and his music.
Elizabeth Marvel is one of those chameleon-like stage actresses fiercely committed to character. Whatever the play — from "A Streetcar Named Desire" off-Broadway to "Top Girls" on Broadway — she transforms herself, each portrait totally different and totally credible.
The ladies in red brought down the house.
Wearing a full-length fur coat, a long blue scarf, a chic violet dress and sunglasses, she staggers into a recording studio. Four-letter words fly. And so do the laughs. But then, what did you expect?
To believe or not to believe.
The battle to illuminate the mind and heart of Helen Keller remains as compelling as ever, even if the first Broadway revival of William Gibson's "The Miracle Worker" suffers from inhospitable surroundings and a supporting cast forced to bellow its way through much of the dialogue.
Daniel Radcliffe is explaining why he has just filmed a public service announcement for The Trevor Project, the leading organization focusing on suicide prevention efforts among gay, lesbian, bisexual and transgendered youth.
A former Minneapolis city council member who has extensive regional theater experience has been named director of theater and musical theater at the National Endowment for the Arts.
It's a time-honored tradition, the show must go on.
Log In | Register
