The Chicago sound designer/composer talks about the Hypocrites, and about a new folk musical with a jazz flavor.
Forget jukebox shows and rock stars; the American musical looks and sounds more like a jam session between indie bands and theatre artists.
Thanks to a triumvirate of forward-lookers, a think tank grows in Boston.
Contemporary Russian theatre reflects a divisive political moment with rage, irony and low-fuss experimentation.
A conversation about playmaking, ensemble acting, writing regimens—oh, and that Chekhov play they both adapted.
With his second volume of lyrics, Sondheim makes the case for his theatrical vision, even when it’s led him down blind alleys.
Emily Mann and Chay Yew write and direct plays, and they run theatres. Not necessarily in that order.
For Peter Sellars and Maya Zbib, mentorship isn’t a one-way exchange.
A full plate at Humana’s all-you-can-see new-play buffet.
In the midst of publishing two definitive books about his lyrics, the musical theatre master ponders his accomplishments, his way of working, and the form and future of the American musical.