1,144 stories from The New York Observer
Perhaps better than any other examination of Callas' life and career, the play 'Galas' delves into the frustration and pain that engendered her genius
Indie-pop luminary Regina Spektor is preparing for her debut on the Great White Way.
Despite the serious talent arrayed on both sides of the footlights, one longs for a taste of the mystical rapture the characters seem to be feeling on stage.
Shakespeare in the Park delivers the freshest and funniest 'Much Ado About Nothing' you've seen yet.
Every American war gets the living-room tragedy it deserves.
Alex Brightman walks us through preparing to take the stage as Beetlejuice each night, a process that involves old Robin Williams standup routines.
Historically, Tony voters reward stars, snobby hits and anything that opened in the spring. What will that mean for this year's unconventional contenders? Here are our predictions.
More than 30 years after its debut, a Broadway revival shows the sexual politics of Terrence McNally's Reagan-era romance to be just as relevant today.
As for the author, Fillinger is a brave, commanding new presence"a young American dramatist worth keeping an eye on in the future, and deserving of praise already.
The legendary playwright on his 'Frankie and Johnny' revival, road trips with Angela Lansbury and the critics who wished he were dead.
Seeing young women commandeer the weird energy of Shakespeare's 'Macbeth' you realize: gee, these characters seem really insecure about their masculinity.
In his new lyrical chorus, 'Octet,' Dave Malloy probes the inner lives of eight online addicts who meet in a church basement for a program where they find comfort in each other's stories.
A revival of 'Curse of the Starving Class' at the Signature Theatre highlights both the punk rock spirit and dated nature of Sam Shepard's work.
Cori Thomas' 'Lockdown' cries out for change in the penal system. It's a good premise, but not a very good play.
We can thank productions like 'The Band's Visit' for paving the way for this year's uptown migration of risky, dazzling downtown shows.
Everyone in the cast has been hired according to how loud they can scream, which they do in an eardrum-shattering collection of what some people call music.
'Ink' focuses on the early days of 'The Sun,' before Murdoch's global news empire profoundly shaped"and coarsened"the world we live in.
Its rhyming of 'real good' with 'Gielgud' is a prime example of why 'Tootsie' is dead on arrival.
This is as good as it gets.
In John Cameron Mitchell's podcast musical 'Anthem: Homunculus,' Glenn Close sings punk, Patti LuPone sings jazz and Laurie Anderson plays a tumor.
In Taylor Mac's new play, an updated take on 'Titus Andronicus,' Nathan Lane plays a street clown who survived the hangman and one day dreams of being called a fool.
Laurie Metcalf looks and sounds nothing like Hillary Clinton, yet in her role in Broadway's 'Hillary and Clinton' she is, as always, nothing less than mesmerizing.
Even if 'Burn This' offers more ashes than flames, it's a fine chance to experience how bracing it is to hear real people saying real things.
The road to 'Hadestown' was paved with good intentions, but the material that was a hit in Anaïs Mitchell's 2010 concept album drags as a Broadway show.
Michael James Scott has paid his dues for decades; now the super-trouper gets top Broadway billing in 'Aladdin.'
