Owning Her Power: Reneé Rapp, Regina George, and Compassionate Strength
No one can accuse Reneé Rapp, the emerging star of Broadway’s Mean Girls, who brings the scheming Queen Bee Regina George to life onstage, of method acting.
All My Sons
The crushing of youthful ideals has fueled many a drama, both onstage and off. But few have accomplished this as powerfully, or as devastatingly, as Arthur Miller in his 1947 drama All My Sons…
Hillary and Clinton
Almost three years after watching an undeniably qualified woman lose the Presidential election to an undoubtedly unqualified man and remain diplomatic and composed in public, the opportunity to watch her finally give voice to her anger was cathartic, to say the least.
What the Constitution Means to Me
The disarmingly inviting, undeniably powerful play, directed by Olive Butler, has opened on Broadway after a sold-out run at Off-Broadway’s New York Theatre Workshop.
Get in, Losers: We’re Learning How the ‘Mean Girls’ Musical Got Made
Lyricist Nell Benjamin on adapting Tina Fey’s 2004 teen classic without losing the movie’s biting humor — or its heart.
Why the Play ‘Wit’ Made Me Cry So Hard
Some plays hit us harder than others. One theater lover describes her very personal response to Wit.
Has Broadway Discovered ... Feminism?
The Tony Awards are hardly known as a feminist event, but on Sunday, June 11, if we are lucky, we may be witnessing a first.
Sunset Boulevard
Twenty-three years after since her original, Tony-winning performance as Norma Desmond, Glenn Close has returned to the role of the fading film star clinging desperately to the past.
The Front Page
Written by former newspapermen Ben Hecht and Charles MacArthur, this unapologetically vulgar comedy was first produced in 1928, and its age is showing. Directed by Jack O’Brien, the star-studded cast is all white, mostly men and incredibly misogynistic.
Dear Evan Hansen
This new musical, with a score by Benj Pasek and Justin Paul, and a book by Steven Levenson, follows the titular character, a painfully shy and anxious teenager who finds himself skyrocketing to popularity and online fame.
Heisenberg
A one-act, bare-bones look at the baffling interactions between two underwritten characters, Heisenberg offers a pretentiously philosophical take on the myth of the maniac pixie dream girl.
Holiday Inn
Holiday Inn, which was written by Chad Hodge and Gordon Greenberg, follows a song-and-dance team who part ways when Jim, determined to escape showbiz, buys a farm in Connecticut.
The Encounter
The meaning of time is constantly pondered, discussed and perhaps even escaped from by the protagonist of The Encounter, Simon McBurney’s new play on Broadway, but, for theatergoers at this overstimulating and exhausting production, it is never forgotten.
Changing the Script for Women Directors: Diane Paulus and Liesl Tommy
Diane Paulus, the director of the Tony-nominated musical Waitress, became a part of theatre history when they announced that the creative team for the musical adaption of the popular film would be comprised of women.
Michael Cerveris on the Closing of ‘Fun Home’: 'It Arrived on Broadway in the Moment it Was Most Needed'
When Michael Cerveris, who plays the closeted Bruce Bechdel in the Broadway musical Fun Home, begins his final song, “Edges of the World,” he sings: “I fucking love beginnings, flying high.”
