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The actor left the stage soon after playing Lear in 1986. Now 80, he is giving it another go, in a made-for-television film directed by Richard Eyre.
What’s inside Agnes de Mille’s unopened 1963 letter? Rather than peeking, an organization is commissioning new work in her honor.
The playwright Richard Bean brings world-class professional snooker onstage in “The Nap,” produced by the Manhattan Theater Club.
There was plenty of Homer, a stellar lineup and, for now, no problem crossing the border at the third annual celebration of the life and work of Brian FrielTamsin Greig, Alex Jennings, Maxin…
The experimental director and avant-garde choreographer’s production — the first in the U.S. not to be based on Jerome Robbins’s choreography — will come to Broadway.
“Harry Potter and the Cursed Child” doesn’t use elaborate special effects. Its magic comes from movement, and Steven Hoggett is its wizard choreographer.
Performing the wrenching “Girls & Boys” has taken more fortitude than she ever expected.
“Something to Dance About,” a new piece staged by Warren Carlyle, includes extracts from nine musicals choreographed by Robbins.
The Broadway home for “Harry Potter and the Cursed Child’ has been rebuilt in the hope that it will run for many, many years. So why is J.K. Rowling worried?
“We’ve stopped having the idea that theater is essentially a literary form,” said Chris Goode, who adapted “Jubilee” from Derek Jarman’s film.
Claire van Kampen worked on other people’s plays for decades. Then she wrote “Farinelli and the King.” It’s been a hit in London and makes its way to New York next week.
Ahead of its 200th birthday, the theater announced productions of new plays by Alan Ayckbourn and adaptations by Jack Thorne.
The 2014 play “Shakespeare in Love” will be the most produced play in the country this season.
How the playwright James Graham and the actor Bertie Carvel give the media mogul a fair hearing in a play that takes a hard look at populism and the press.
With acting and musical theater roles on the horizon, Mr. Fairchild, who starred in “An American in Paris,” said he felt he needed to choose a direction.
A new production of “King Kong,” which originally starred Miriam Makeba, is a reminder of the nation’s apartheid past.
Tickets for the three-week run in London, a fund-raiser for the Royal Academy of Dramatic Art, are only available through a ballot system.
Highlights of the Almeida Theater’s 2017-18 season, announced Monday, include “Albion,” a new work by Mr. Bartlett, the author of “King Charles III.”
The city’s 32 boroughs are being asked to compete for the designation of Borough of Culture, which will come with a $1.3 million grant.
59 Productions has turned its talents to the mind-bending detective novel “City of Glass”
Cherry Jones has two Tonys and an Emmy. Now, 40 years after creating a “British Stage” folder, she is in the West End as Tennessee Williams’s Amanda Wingfield.
Ruth Mackenzie will not just be the rare Briton to head a French national institution, but the first woman to run the theater since it opened in 1862.
The opera singer Bryn Terfel, the Kinks singer Ray Davies and photographer Don McCullin also received the award.
With precise dancing and ingenious special effects, Stephen Mear’s production offers a diversion from reality.
John McGrath, who was appointed artistic director last year, is starting to plan for the festival, which will run June 29 through July 16.
Amy Lamé has been appointed Night Czar of London and will create a plan to develop the city’s nighttime industries.
Akram Khan’s choreography informs “Chotto Desh,” in which an exchange between a man and a youth summons stories Mr. Khan heard from his grandparents.
The play, “Girl From the North Country” by Conor McPherson, begins previews on July 12; the season also includes a new “Rosencrantz and Guildenstern.”
The Kingston Rose Theater in London says it’ll present the first stage adaptation of the novels that made the mysterious Ms. Ferrante a global name.
Simon McBurney prepares a one-man show, “The Encounter,” for Broadway.
Members of the creative team have kept the plot under wraps, but they spoke candidly about the play’s origins and what it’s like to work under intense secrecy.