Gore Vidal's 1960 play The Best Man will strike audiences as surprisingly timely: When a political party gathers to nominate a presidential candidate, they find both leading contenders flawed and the convention deadlocked. Jeff Lunden reports on a new star-studded revival that asks, who's the "best man" for the job?
If you've ever wailed and gnashed your teeth after wasting precious minutes on the phone struggling with an automated customer service system, you're the perfect audience for playwright Lisa Kron's new work, The Veri**on Play.
Each year, the annual Tennessee Williams/New Orleans Literary Festival ends with a bevy of wannabe Stanleys bellow to love-torn Stellas positioned on a balcony in Jackson Square — and the roles are reversed when a woman is doing the shouting. This year, Nicole Martin took first place with her yelling "Stanley!" This annual riff on characters from the play and movie "A Streetcar Named Desire" also brought Bryan Buckles a second-place award.
Exorcism -- an early Eugene O'Neill play about suicide, divorce and alcoholism — was thought to be lost for good. But a manuscript recently turned up in an estate sale, and a revival has been staged. But is it ethical to stage a play O'Neill himself wanted to be forgotten?
The innovative puppeteer Basil Twist is the focus of a mini-festival in Washington, D.C. this spring. Performances include the underwater Symphonie Fantastique and Arias With a Twist, featuring renowned drag artist Joey Arias. Elizabeth Blair talks with Twist about his singular creations.
"To be or not to be" may be the question, but there's another question that's been nagging Shakespeare scholars for a long time: What did Hamlet, Macbeth, Romeo and Juliet really sound like when The Bard's work was first performed more than four centuries ago?
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