Tony Nominators: You Missed a Step in Ignoring ‘Dancin’’
The show’s producer makes the case for recognizing non-traditional forms—including dance-driven, non-narrative shows like this—on Broadway.
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The show’s producer makes the case for recognizing non-traditional forms—including dance-driven, non-narrative shows like this—on Broadway.
The process of finding and hiring new leaders could be the ideal chance for organizations to make fundamental and positive change—if only we would seize it.
A former projectionist recalls 3 memorable weeks in the mezzanine on the show’s Boston tour stop back in 1979.
Somehow the late, great director could work on my play—and give it exactly what it needed—even while occupied with countless other thoughts and projects.
The director of the world premiere of ‘Etta and Ella on the Upper West Side’ shares what unlocked this haunting play for him and the creative team.
Over the past year, no fewer than 10 shows on both sides of the Atlantic have addressed the historical rise of Nazism and/or the troubling resurfacing of antisemitism.
For all its faults, the form (and its fans) can’t help but stand up and sing for the underdog, for the awakened conscience, for moments of joyful liberation.
Under the Radar, Exponential, and Prototype at last returned in person this year, and the pickings were as unexpected and various as ever.
The writers of ‘Vatican Falls,’ ‘How I Learned to Drive,’ and ‘Downstate’ take varied approaches to depicting pedophiles—and reckoning with what they deserve.
Jordan E. Cooper’s satire could have had more success if it had kept cultivating audiences as intentionally as it did throughout its early development.