How Chicago Theatre Week Builds Audiences for Theatres Big and Small
The event offers $15-30 tickets to more than 100 productions at Chicago theatres, and experts and theatre leaders say it’s putting more (and new) butts in seats.
Category Archives: Features
Equity Vs. L.A. 99-Seat Theatre, the Final Showdown
As the battle over L.A.’s non-remunerative 99-seat plan comes to a head, players on either side have radically different prognoses for the health of the city’s sprawling theatre scene.
Gigi Bermingham Plays the Judy Garland That Got Away
The actress, now starring in ‘End of the Rainbow’ at International City Theatre, talks about learning to love Judy and why working in real estate wasn’t right for her.
Know a Theatre: Riverside Theatre of Iowa City, Iowa
A small, smart venue in a small, smart Iowa town keeps its eye on national trends and tends toward new, often challenging plays.
In London, a Mix of Old and New, Often on the Same Stage
A new history play set in the future holds its own alongside classics, as well as new works by Stoppard and Hare and a pair of ace musical revivals.
Jason Robert Brown and Alfred Uhry Reflect on the Legacy of ‘Parade’
As their 1998 musical about a lynching in the South readies for a Lincoln Center concert, the composer/lyricist and playwright recall its origins and its import.
How the Colorado New Play Summit Went From Local Gem to National Event
How Denver Center Theatre Company artistic director Kent Thompson turned Denver into a must-see stop for new-play development with the Colorado New Play Summit.
‘An American in Paris,’ Back From an Out-of-Town Tryout in—Where Else?—Paris
How a Gershwin classic went from the concert hall to the cinema, and from Paris’s Théâtre du Châtelet to Broadway.
The Civilians Uncover the Craft and Humanity of Porn in ‘Pretty Filthy’
Director Steve Cosson explains how his troupe’s new show fits into a tradition of backstage musicals—and not just because of the crescendos and climaxes.
‘The Woodsman’ Gives the Tin Man a Backstory (and a Heart)
James Ortiz’s young company uses a mix of puppetry and human actors to create a wordless ‘Wizard of Oz’ prequel.
