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Today β€” February 16th 2019Your RSS feeds

Phoebe Waller-Bridge Will Make You Laugh So Hard It Hurts

By AMANDA HESS

The writer-actress behind the wild, disorienting comedy of “Fleabag” and “Killing Eve” is bringing her sneak-attack humor to New York.

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A Costume Designer With Low Budgets and High Style

By ALEXIS SOLOSKI

Whether he’s capturing David Lee Roth or Bed-Stuy street style, Montana Levi Blanco’s secret: an anthropological attention to detail and “amazing aggressive shopping.”

From β€˜The Simpsons’ to β€˜The Twilight Zone.’ And Now, Trump.

By HOLLY WILLIAMS

London’s Almeida Theater has become a home away from home for the New York playwright Anne Washburn. Next: a very American comic drama called “Shipwreck.”

Behind the Play: a Tragedy, a Gift, a Wish to Forgive

By ERIC GRODE

Underwriting the heart-rending “Everything Is Wonderful” has prompted a Baltimore couple to learn more about the car crash that killed their son.

Sara Bareilles Sang β€˜She Used to Be Mine.’ Now Fans Are Making It Theirs.

By MICHAEL PAULSON

The song, written for the pregnant protagonist of “Waitress,” has been claimed, unexpectedly, by men, children and singers of all sorts.

The Producer Has a History. So Does This Civil War-Era Musical.

By MICHAEL PAULSON

“Paradise Square” is the most expensive show Berkeley Repertory Theater has ever done. Its creators are prestigious, its major patron notorious.

Critic’s Pick: Review: An Aching Ode to Jerome Robbins’s Lost New York

By JASON FARAGO

For this essential New York choreographer’s centenary, a Public Library exhibition full of the joy and anxiety of postwar Manhattan.

An Appraisal: Swept Up in the Whirlwind Known as Michel Legrand

By MELISSA ERRICO

The singer Melissa Errico recalls the mix of wild energy and plaintive emotion that made the composer so enthralling to be around.

Critic’s Pick: Review: β€˜My Fair Lady,’ Illuminated With New Stars

By JESSE GREEN

Laura Benanti and three other recently arrived lead actors are adjusting the focus of the hit revival from the political to the personal.

β€˜Rent’ Live Is Mostly β€˜Rent’ Recorded, After Actor Injury

By MATT STEVENS

The highly publicized musical event, which was broadcast Sunday on Fox, had to rely on footage from a previous performance after one of its lead actors broke his foot.

β€˜Hamlet’ in Virtual Reality Casts the Viewer in the Play

By ELIZABETH A. HARRIS

A joint production by a Boston theater company and Google hopes to bring high-quality Shakespeare to wider audiences, and new audiences into theaters.

London Theater Reviews: Cate Blanchett’s S-and-M Play Is More Tiresome Than Titillating

By MATT WOLF

“When We Have Sufficiently Tortured Each Other” opened at London’s National Theater on a wave of controversy and hype. But it’s pretty boring, our critic writes.

Critic’s Notebook: I Want My Playbill! Why Programs Are No Mere Extra

By LAURA COLLINS-HUGHES

Sure, less paper makes environmental sense. But relying on digital programs betrays what makes the in-the-moment experience of theater so special.

β€˜Hamlet’ in Virtual Reality Casts the Viewer in the Play

By ELIZABETH A. HARRIS

A joint production by a Boston theater company and Google hopes to bring high-quality Shakespeare to wider audiences, and new audiences into theaters.

Extending the Stage With Technology

By SCOTT HELLER

A brief sampling of productions that use augmented reality, smartphone mapping and motion capture, blurring the line between the live and the virtual.

Will a New Play Restart a Fire?

By FRANK RIZZO

Years after the Supreme Court ruled that New Haven unfairly treated white firefighters who were seeking promotion, “Good Faith” checks in on a wounded city.

A 32-Year Journey to Hell’s Kitchen

By MICHAEL PAULSON

MCC Theater, an influential but itinerant Off Broadway nonprofit, has finally found a home.

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