Tony Nominators: You Missed a Step in Ignoring ‘Dancin’’
The show’s producer makes the case for recognizing non-traditional forms—including dance-driven, non-narrative shows like this—on Broadway.
Opinion
Searching Opportunities
The process of finding and hiring new leaders could be the ideal chance for organizations to make fundamental and positive change—if only we would seize it.
Projected Back in Time as ‘Bob Fosse’s Dancin’ Returns
A former projectionist recalls 3 memorable weeks in the mezzanine on the show’s Boston tour stop back in 1979.
Combing: A Recollection of Working With Adrian Hall
Somehow the late, great director could work on my play—and give it exactly what it needed—even while occupied with countless other thoughts and projects.
Film Noir as a Key to Adrienne Kennedy’s Style
The director of the world premiere of ‘Etta and Ella on the Upper West Side’ shares what unlocked this haunting play for him and the creative team.
Could It Happen Here? How U.S. and U.K. Plays Are Staging Antisemitism’s Resurgence
Over the past year, no fewer than 10 shows on both sides of the Atlantic have addressed the historical rise of Nazism and/or the troubling resurfacing of antisemitism.
Is the Musical Progressive?
For all its faults, the form (and its fans) can’t help but stand up and sing for the underdog, for the awakened conscience, for moments of joyful liberation.
3 Ways to Tell Stories of Sexual Abuse Onstage
The writers of ‘Vatican Falls,’ ‘How I Learned to Drive,’ and ‘Downstate’ take varied approaches to depicting pedophiles—and reckoning with what they deserve.
What Does the Closure of ‘Ain’t No Mo’ Mean for the Future of Black Stories?
Jordan E. Cooper’s satire could have had more success if it had kept cultivating audiences as intentionally as it did throughout its early development.
The Rise and Fall of ‘KPOP’
Why is this groundbreaking Broadway musical closing so soon? The tale of its creation, evolution, marketing, and critical reception offers plenty of clues—and some glimmers of hope.
