In London, a Mix of Old and New, Often on the Same Stage
A new history play set in the future holds its own alongside classics, as well as new works by Stoppard and Hare and a pair of ace musical revivals.
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A new history play set in the future holds its own alongside classics, as well as new works by Stoppard and Hare and a pair of ace musical revivals.
This year, dozens of shows in a few weeks pushed boundaries and pointed in invigorating new directions for performance and performers.
The authors’ presence was elusive yet unmistakable, in two wildly different ways, in two pieces seen at the recent Philadelphia FringeArts fest.
How a troupe of L.A.-based improvisers reawakened one critic’s taste for the possibilities of live theatre.
A new singing-and-signing version of the rock musical puts its themes—voiceless youth, generational misunderstanding—into even sharper focus.
A new staging of Madeleine L’Engle’s sci-fi classic is the newest entry in director Tracy Young’s genre-hopping, ensemble-focused career.
Director Bill Condon takes a fresh look at Henry Krieger and Bill Russell’s 1997 musical “Side Show” about conjoined twins Violet and Daisy Hilton.
The ever-expanding production gambles for high stakes.
The Massachusetts-based company’s Chagall-inspired new work marches through a turbulent century.
The new musical from Robert L. Freedman and Steven Lutvak tells its grisly tale with just the right measure of taste, tone, and intent—and a whole lot of Jefferson Mays.