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Amid New York’s storied theater scene, few festivals offer an approach to the stage quite like Under The Radar. Held annually at the Public Theater, the two-week event offers audiences an opportunity to sample independent productions from an international...
When Nathan Englander began writing his new play “The Twenty-Seventh Man,” it not only represented the fiction writer’s first foray into theater, it answered one of his own longstanding questions. “I haven’t really said this out loud yet,” Englander told...
"Eurydice," Sarah Ruhl's playful retelling of the Orpheus myth from a female perspective, has returned from that underworld where plays go between revivals. It seems as though someone is always summoning this one up, and the current production at South Coast...
Think of the most troubled women in theatre and Medea comes pretty high on the list. A byword for narcissism and violence, she is abandoned by her husband, and lashes out by killing their children. Yet to hear Rachael Stirling talk about the character she is...
The country’s insatiable appetite for energy powers Dan O’Neil’s “Victor Frange Presents Gas,” a diffuse and fitfully insightful eco-comedy from the Incubator Arts Project . With one roaring engine. The production grows from an amusing premise: that Georg...
Sara Krulwich/The New York Times
On a recent afternoon the four cast members of the satirical revue “Forbidden Broadway” were running through a number sending up the frenetic hard sell of the hit musical “Newsies.”
There were lots of broad street-urchin...
At 80, South African playwright Athol Fugard is still turning out plays at a rate that would be daunting for a dramatist half his age. A crucial witness to the warping effect of apartheid on his country's soul, Fugard has continued in the post-apartheid era...
Director Matt McKenzie fails to master the sprawl in “Sweet Thursday,” a world premiere adaptation of John Steinbeck’s 1954 novel, now at Pacific Resident Theatre.
A sequel to Steinbeck’s “Cannery Row,” “Thursday” centers, once again, on marine biologist...
Aha! The choreography is intentionally clunky. The program notes say so.That explains why in the first musical number of “Dogs,” at the New Ohio Theater, the cast look so much like those sweet men in “The Full Monty” — everyday guys turned awkward strippers...
James Ryan Caldwell knows how to write. All he needs now is to learn when to quit. At 90 minutes, his expertly acted comedy-drama “Fantasy Artists” is rather good. But you can’t help thinking that at 75 minutes it would be even better.
