Give Wendy Wasserstein credit: Her play The Heidi Chronicles brilliantly toes the line between remaining relevant to new, contemporary audiences while simultaneously exemplifying how far we've come from tumultuous years of inequality for women.
This is supposed to be a great feminist play. But what does Heidi want? She wants to get married and have babies but also be an art historian. She wants to "have it all." Only we don't see her struggle to get, or keep, a career. We only see her struggle to find a man.
Karl is the Broadway veteran who's just racked up rave reviews for his hilarious portrayal of Kristin Chenoweth's boyfriend in the revival of On The Twentieth Century. This, less than a year after being nominated for a Tony award for "best actor in a musical," for his starring role in Rocky.
Wendy Wasserstein's plays are always smart and funny and she writes about nostalgia, friends and change as well as any playwright. MacKinnon has assembled an impressive group of actors who deliver Wasserstein's message with ease and charm and the material still resonates as much now as it did in 1989.
It is unclear what the future holds for this Hunchback. Another Disney project, Newsies, went from Paper Mill to Broadway not so long ago. The same could happen for Hunchback, but then it could not. For his part, Scott Schwartz is just enjoying the ride.
Dorothy Rothschild was 21 and living on the Upper West Side of Manhattan when she mailed a letter that changed her life. It happened 100 years ago, sometime in early 1915. The moment set the scene for her to become Dorothy Parker.
While powerfully delivered by Prince, Sherrill and Cusak, the toe-tappy, anthem-heavy score doesn't feel specific to these characters or their situation. And when the score does actually call for a no-holds-barred power-anthem finale, it backs away.
What's striking about Nevermore is that it captures Poe in Poe-like fashion. It pays tribute to his tormented life, explains the genesis of his most beloved works, while delivering an original, riveting set piece.
The Audience has some interesting moments and a first-rate cast, but it is hard to see its relevance to a U.S. audience. It's doubtful many Americans know Harold Wilson or Anthony Eden. That doesn't detract from Stephen Daldry's solid direction or Bob Crowley's august set design.
The poster of On the Twentieth Century impressed many. A bunch of people said it seemed fun. Some people recognized Kristin Chenoweth and one of my mother's favorite leading men, Peter Gallagher, and were excited by their presence.
For one night, the regal and majestic qualities of royalty have you wondering about a world that never before felt so close at hand.
We live in an age where the trifecta of job happiness -- inspiring work, engaging environment and potential for growth -- is on the upswing in the entertainment business, and particularly in the Broadway community.
Last night, I went to see the unbelievable production of Hedwig and the Angry Inch. The show is vibrant, vulnerable and energetic, dark yet funny and - I confess - this wasn't my first time seeing it.
Ambition can be both exciting and theatrical -- a challenge Lin-Manuel Miranda has realized to great effect in the clever and electric musical Hamilton, now off-Broadway at the Public Theater.
What brings people to the theater? I talk a lot about that each day with various producers and press agents. Of course, if anyone really knew an exact answer, many more shows would be successful. Instead we all try our best to guess.
Broadway's Honeymoon in Vegas has the electricity of the city after which it is titled.