Andrew Lloyd Webber’s 13th new musical on Broadway adheres to the composer’s usual habits.
The comedian explores the effects and attributes of chatting with strangers and its effect on the world at large.
An unconventional staging of the old-fashioned novel inspires familiar questions about its two main characters.
An incomprehensible and unnecessary staging of the classic tale loses all of the book’s charm.
Flipping the gender of the main character in Stephen Sondheim’s musical inspires new interpretations of this tale of a New York City bachelor.
“Friendship is magic” is the motto of characters in both the animated children’s series My Little Pony and Eric John Meyer’s subtly chilling comedy The Antelope Party.
Sometimes art imitates life, and sometimes life imitates art. And sometimes the two combine in an eerily prescient performance that both inspires and unsettles.
Such is the case with Bleeding Love, the self-described post-apocalyptic musical podcast that serves as a both a fanciful escape and a cautionary tale.
The fires of rage in Medea burn hot, but in Simon Stone’s new adaptation, all we see are the ashes. Stone’s modern-day reworking of Euripides’ familial tragedy about an enraged woman who murders her children offers a more clinical, scientific scrutiny of the circumstances that led a mother to do the unthinkable. And, it is clear, Medea’s story is not as simple as might seem in a Cliff's Notes summary.
