MasterVoices’ epic project may be the best showcase Guettel’s work has yet received.
I Guess That’s Why They Call It the Blues: Our Critics discuss Ma Rainey’s Black Bottom (for Parterre Box)
Netflix adaptation hits the marks of Wilson’s original while settling into a more focused filmic style.
If the original version of The Prom had zazz—Ryan Murphy’s adaptation barely achieves fizz.
With virtual streamed productions, the Wilma and PTC show that a path forward might also bring national recognition.
In this rarely seen 1958 remake of Morning Glory, Susan Strasberg does not prove herself the next Katharine Hepburn.
The lead role is a wonderful fit for Ginger Rogers, who plays it with brassy charm and a laudable sense of humor.
BOYS could be seen as the gay equivalent of SHOW BOAT—hugely important, and now extremely problematic.
Jeanne Eagels and Siobhan McKenna show that there are many ways to write The Letter.
Peter Shaffer’s play is seen here for what it’s always been: a piece of lowbrow camp masquerading as highbrow art.
In one of her earliest film performances, already: “The girls got something!”