Audiences are eager to laugh at everything from pratfalls to political commentary, and these days they’re doing it everywhere but at the theatre.
It wasn’t quite the season of our discontent, but this year’s January festivals felt a bit less binge-able than usual, despite the high points.
What am I learning while doing time, apart from mopping the gym? I’m getting to know people in transition.
New York’s annual experimental theatre sampler boasts plenty of chills and frills, but the real attraction is carefully crafted mayhem.
To honor the million-plus Black Africans who died in World War I, the South African artist uses opera, theatre, dance, video, and a dose of Dada.
A bio sums up Rodgers & Hammerstein’s achievement, and Andrew Lloyd Webber’s memoir is surprisingly lively.
You can’t just dip into the best, most compulsively readable book ever written about the art and sweat of making theatre (though you may skip a few parts).
By flipping a few genders, Marianne Elliott’s new London revival turns Sondheim and Furth’s classic into a meditation on modern relationships.
New memoirs by British directors Nicholas Hytner and Dominic Dromgoole run the gamut, and the Globe.
In her boundary-breaking, civically engaged play, Heidi Schreck shows that a woman telling her story is a political, and powerful, act