Industry news, not reviews — casting announcements, transfers, closings, and everything else happening on and off the Great White Way.
Mateo Delacroix's "Proof of Residency," which opened last week at The Silt Lab, is running at about eighty percent of what it's attempting — and what it's attempting is formally demanding enough that
Adaeze Nwoku's "The Arithmetic of Ghosts" announced this week that it will transfer from the Foundry Box — where it has been running to houses of fifty-two people for four months — to the Meridian
Sela Abioye's Partial Inventory was always going to be a play about the instability of testimony, so the Clementine Stage's decision to announce a rotating principal cast for its fall run reads less
Theodora Vance's "The Interval" is the most formally rigorous new play downtown has produced this season, and it just got more interesting.
Nadia Ferreira-Bloom's The Interval, now in its world premiere at the Meridian Stage Loft, is the most formally serious new play I have seen downtown this summer.
"What Remains," which opened Thursday at Thistle Rep, is the best new play I've seen this season at a house under 150 seats, and it's not particularly close.
Lena Voronova's debut season as artistic director at The Seam Theatre does something that off-Broadway programming almost never does: it has a thesis.
"Daughters of the Harmattan" earned its transfer. Let me say that before the details, because the details will make more sense that way.
Off-Broadway's latest sensation, "Awakening," has drawn attention to a new wave of female voices emerging in theater.
Rising playwright Avni Patel’s debut work, "Unseen," makes its world premiere at the intimate Workshop Theater this month.
Priya Raghunathan reports on the announced transfer of Kwame Osei-Bonsu's landmark new play from the Vineyard Theatre to Second Stage, where it will open in September.
