Anna Schultz

Babes With Blades Theatre Company (BWBTC) has released production photos of Plaid as Hell, written by Cat McKay and directed by Christina Casano, now playing through Saturday, Nov. 19 at The Factory Theater. Check out the photos here!

The Enchanted Revolution -- written, directed by and featuring the multifaceted creative enchantress, Charlotte Lily Gaspard for Midnight Radio Show -- is 80 minutes of magic, with a six-person cast creating a modern fairytale for the whole family from another dimension in a basement black box theater located in the heart of the East Village at Theater for the New City.

Columbia University School of the Arts is proud to present Katherine Wilkinson's (Columbia MFA Directing Candidate 2019) production of LORDES.

Theater for the New City (TNC) Dream Up Festival presents the world premiere of Masseur, written and directed by Christian Ávila. Masseur opens September 6, at the Cabaret Theater at Theater for the New City (155 1st Ave), with a five-performance run through September 14, 2018.

Theater for the New City (TNC) Dream Up Festival presents the world premiere of Masseur, written and directed by Christian Ávila. Masseur opens September 6, at the Cabaret Theater at Theater for the New City (155 1st Ave), with a five-performance run through September 14, 2018.

Brown Paper Box Co. kicked off their 2017/2018 season with a wildly successful 2-night cabaret at Mary's Attic in Andersonville April 7 & 8. Hosted by company member Kristi Szczepanek*, Positively Present: An Uplifting Cabaret featured performances from BPBCo. company members and friends, as well as past (and present!) show participants.

The Acting Company celebrated the opening of X: Or, Betty Shabazz v. The Nation in rep with Julius Caesar at The New Victory Theater on Friday night at Red Rooster on Malcolm X Blvd. in Harlem. Scroll down for photos from the festivities!

The latest in unauthorized gossip and buzz from the heart of Chicago's showtune video bars, and musical theater news from Chicago to Broadway. News about the 'Phantom' and 'Cinderella' tours, suburban theaters mount 'Cabaret,' 'Young Frankenstein,' 'Ring Of Fire' and more, plus 'A New Brain,' Hollis Resnik's Milwaukee turn as Judy, and more this month from Circle Theatre!

It's not what you say, it's how you say it. That adage often runs through my head, both in my personal life and in my work as a theater critic. It also runs through my head when viewing productions, especially ones like Blood Wedding. With plays not originally in English, attention must be paid to the translation. Blood Wedding, originally written in Spanish by Frederico Garcia Lorca, offers an additional challenge in Lorca's poetic style. It's not what he says but how he says it that makes Lorca's Blood Wedding an interesting and engaging piece of theatre. While the current production at St. Edwards University manages to visually capture Lorca's poetry, the translation by James Graham Lujan and Richard O'Connell is less successful.

In 1964, Tom Stoppard emerged from a mansion in Berlin with a one-act play called ROSENCRANTZ & GUILDENSTERN MEET KING LEAR. Two years later, his reworked play, entitled ROSENCRANTZ & GUILDENSTERN ARE DEAD, opened to acclaim at the Edinburgh Festival on August 24, 1966. A successful 1967 production at London's Old Vic made Tom Stoppard an overnight success. At almost 47-years-old, this play still excites theatergoers, actors, directors, and producers alike. The savvy exploration of the relevance of art, the commentary on insignificance, the absurdity, and the existentialism are just a handful of the hooks that allure people to the work and have garnered the show praise time and time again. In Houston, it feels that Cabal Productions' presentation of the play proudly exclaims Guildenstern's line 'We're still finding out feet,' without heeding The Player's warning, 'I should concentrate on not losing your heads.'