Lora Strum - Page 2

“We want people to put down that green beer and pick up real Irish culture and literature,” Rex Daugherty, Solas Nua’s Artistic Director of Theatre, says. “The arts are one of Ireland’s biggest exports, and its best work is happening now.”

A dramatic reading of letters Shaw exchanged with the actress Mrs. Patrick Campbell reveals the strong-willed woman who captured Shaw’s heart and inspired the playwright’s iconic Eliza Doolittle.

It's crass and callous, heart-breaking and hilarious as it examines the nomansland where choice and identity collide.

This reimagined 'The Phantom of the Opera' has its roots in the novel of the same name; a work immortalized in Andrew Lloyd Webber’s Broadway adaptation. Those roots, however, never grow into anything in Synetic’s take.

In 2021, evil lurks in crowded grocery stores, on unmasked faces or on Facebook. So, what would today's audience want with a tale about villany? 'All the Devils Are Here: How Shakespeare Invented the Villain' has the answer.

“I hate it here” is so 2020 that it is the perfect title for Studio Theatre’s second audio play; a work so zeitgeist-y it is exposure therapy for “these unprecedented times.”

When past government shutdowns forced Ford's Theatre to close its doors, its artists grew resilient in the uncertainty. Today, shut down by the coronavirus pandemic, that resilience may not be enough.

ABT does the melodrama of 'Giselle' with an acute attention to detail, diversity and dramatic flair.

In its annual Kennedy Center residency, the company tackles gun violence, love, youth and more in a program that includes new works and the seminal classic a?oeRevelations.a??

Synetic Theater's The Snow Queen feels like a prolonged fever dream brought on by repeated viewings of Disney's Frozen, or its earlier work, Fantasia.

Broadway World caught up with Ayana Workman to talk process, life and death, and why you can't really take it with you in Obie Award-winner and MacArthur a?oeGeniusa?? Grant recipient Branden Jacobs-Jenkins' production of 'Everybody..'

The Mariinsky Ballet's a?oePaquitaa?? should begin at its end. It's culminating event, the infamous Grand Pas, arrives after roughly two hours and for anyone in the Kennedy Center Opera House who doesn't know it's coming, the temptation to leave at one of two interminable intermissions is hard to resist.

Dawn Thomas Reidy took a moment between rehearsals to tell Broadway World how she's managing motherhood with her return to Unexpected Stage Company, and why playing QZ is one of her greatest acting challenges yet.

While ballet could spend another century beginning with Balanchine, the Dance Theatre of Harlem's latest commissions offer a different future, one where ballet is more daring and more perceptive than ever before.

The cast of The Gala Hispanic Theatre's bilingual production of Fame -- The Musical takes this marathon show at a dead sprint, bucking Broadway bluster to deliver on the idea fame is an illusion, and hard work is what we seek.

It's all about the words, words, words for director Vivienne Benesch as she prepares to make her Folger Theatre debut with a new 1930s-styled production of Love's Labor's Lost.

Demo: Now, a complex seven-part showcase of dance, music and spoken word, defies expectations by never allowing the audience to set them in the first place.