Heavy-Hitting ‘Hammer Trilogy’ Envisioned as an American King Arthur Myth
Fantasy and mythology cross-breed with early American history in Nathan Allen’s ambitious three-play series, now at last running in repertory.
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Fantasy and mythology cross-breed with early American history in Nathan Allen’s ambitious three-play series, now at last running in repertory.
As their 1998 musical about a lynching in the South readies for a Lincoln Center concert, the composer/lyricist and playwright recall its origins and its import.
How a Gershwin classic went from the concert hall to the cinema, and from Paris’s Théâtre du Châtelet to Broadway.
Director Steve Cosson explains how his troupe’s new show fits into a tradition of backstage musicals—and not just because of the crescendos and climaxes.
James Ortiz’s young company uses a mix of puppetry and human actors to create a wordless ‘Wizard of Oz’ prequel.
The reeling ecstasy of the troupe’s new “record album interpretation” comes via the most straightforward means imaginable.
Christina Masciotti’s uneasily naturalistic play depicts a factory worker fallen on hard times and caught between two contrasting neighbors.
Matt Lyle’s wild comedy, inspired by a mild real-life social humiliation, throws self-judgment and invidious class comparison on the grill next to the road kill.
Matthew Lopez’s newest play, coming soon to Hartford Stage, tackles the intimacy gap in contemporary relationships.
Two parents are concerned about their young son’s love for Cinderella and playing dress-up. Should they be? Daniel Pearle’s play, coming soon to About Face Theatre, explores the question.