Theater news covering Broadway and West End productions, Tony Awards, touring shows, casting, and live performance industry trends.
This review argues that the two-person musical 'Mexodus' at Pasadena Playhouse generates remarkable energy and variety despite its small cast, blending hip-hop and Tex-Mex styles to tell a slavery story set in the context of escape to Mexico. The reviewer contends the show feels as spirited as a full ensemble production, akin to a two-man 'Hamilton'.
The 'Les Miserables' arena concert celebrating the musical's 40th anniversary ended its world tour in New York City. The tour visited 17 countries and performed for thousands of fans.
This commentary profiles actor and writer Emily Glaze, who has alopecia areata, and her one-woman show 'Basic Bald B*tch' at the Edinburgh Fringe Festival. It argues that her performance, including removing her wig on stage, challenges shame and promotes empowerment for people with physical differences, while highlighting the need for greater representation.
This commentary profiles actor Ben Platt, focusing on his career and personal life. It argues that Platt's London debut in a queer musical marks a significant shift from his previous straight roles, and discusses his childhood, family background, and decision to speak out on Israel and Palestine.
This review argues that the musical adaptation of 'Pretty Woman' effectively leverages nostalgia and strong vocal performances, but struggles with the story's dated gender and class politics. The author contends that while the score and chemistry between leads are engaging, the musical fails to fully transcend the original film's problematic tropes.
This commentary argues that the new Frank Sinatra bio musical in London's West End is a disappointing, old-fashioned production unlikely to succeed on Broadway. The critic contends the show lacks dramatic depth, relies on hokey staging, and fails to elevate its lead performer beyond a mere impression.
This commentary reviews the stage adaptation of 'Paranormal Activity,' arguing that the play transcends its film origins with fresh storytelling and psychological depth. The critic contends that the production effectively uses live performance to evoke dread and terror, while also exploring the complexities of a troubled marriage.
This commentary discusses Isabelle Huppert's performance at the Avignon Festival, arguing that her work transcends language barriers through physicality and emotional depth. The piece suggests that Huppert's approach challenges traditional notions of theatrical communication, emphasizing universal themes over linguistic specificity.
This commentary argues that the Hudson Valley Shakespeare Festival's production of 'King Lear' is a must-see theatrical event, praising its direction and performances. The author contends that the staging offers a fresh and compelling interpretation of the classic tragedy, making it worth traveling for.