Detroit, Lisa D’amour’s arresting play, doesn’t really take place in Michigan’s best-known city. It takes place in an unnamed suburb, in a place that can be Anywhere and Nowhere at the very same time. But D’Amour has very specific ideas about just where she wants to talk her audience in this unsettling and deceptively artful 
Now that we’re almost halfway through hurricane season, it’s safe to say fall has arrived. With that comes the launch of a new television season, augured in by the annual Emmy Awards, a crash course in which television shows have made the most noise in the last year. Below, I try to predict the victors 
Good help is hard to find, as the adage goes. But it’s even harder to figure out just when good help has gone bad, as Fly Me to the Moon, the charming, if dark, comedy directed and penned by Marie Jones, reminds. But Jones, who had a West End and Broadway hit a decade earlier 
Film and theatre are diametrically opposed art forms. The former excels at the intimate, excavating hidden moments and private feelings for all to see. The latter, on the other hand, works in the broad strokes, accentuating the ordinary in a grand manner. So could it have ever been possible to bring the life story of 
(This is the third of a four-part look at West End shows that may ultimately move to Broadway.) If ham can be cured, is it also possible for such an item to be disciplined? There’s evidence to support that case in Tim Carroll’s current production of William Shakespeare’s Richard III at the Globe, with 
Every now and then a veteran performer finds a role that becomes an event, the kind of career flashpoint that brings him or her to the minds of the masses and that also allows those who’ve always been fans to pat themselves on the back with knowing pride. Think of 2008, the year that Kate 
Three-time Tony nominee Marin Mazzie has played some of the great characters in recent musical theater, include leads in Kiss Me Kate, Next to Normal and Ragtime. But beginning last night, she’s taken on a heretofore unknown role: herself. And not just all of her, but Mazzie’s early, formative years in Rockford, Illinois. The 
(This is the second of a four-part look at West End shows that may ultimately move to Broadway.) I can’t imagine turning 50 is a light experience for anyone, no matter how together his or her life seems to be; the age comes with attendant social checkmarks (not to mention healthcare milestones). One hopes 
New York hyphenate Daniel Talbott, a literary manager at Rattlestick Playwrights Theater and co-founder of Rising Phoenix Repertory, has brought his storytelling skills with him to the Bay area, his home town. And he’s getting a little help from his friends. Talbott will direct a free workshop presentation of his own new play, Afghanistan, Zimbabwe, 
Donna Moore’s Cougar the Musical, choreographed and directed by Drama Desk nominee Lynne Taylor-Corbett, sheds musical light on the life of three women in love with the pursuit of younger men. The show, which can be seen at St. Luke’s Theatre, fuses multiple song stylings in its humorous portrayal, including one song, “Julio,” a romantic 
