Rob Weinert-Kendt

There’s a classic bit of advice for actors: Walk into the audition thinking of yourself as the solution to the director’s problem; be that solution and you’ve got the part. Closing the deal is a steeper challenge for the cutthroat salesmen in David Mamet’s 1983 masterpiece Gl

Mike Nichols’ production of ‘Death of a Salesman’ breathes and barks like a freshly born thing.

‘Godspell’ is less a traditional musical than a combination praise service and theater-games exercise.

This season on Broadway, misery may love company, but its best friend is comedy.

The analogies between theatergoing and churchgoing are easy to make.

A string of race-themed shows on Broadway have struck chords with audiences eager to see the subject dramatized–or at least broached.

‘Hamlet’ doesn’t just epitomize the privileging of talk over action; this is, in fact, the play’s anguished subject.

The play of the year is not on Broadway and was not featured at the recent Tony Awards. It is a sprawling yet intimate drama set in a brothel in the war-torn Congolese jungle, with the decidedly gloomy title “Ruined.” That may sound like unlikely hit material, but it is hard to argue wit

Transmuting the horrors of the Congo into a memorable evening of theater is the core achievement of ‘Ruined.’