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Tag Archives | Anastasia

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Review: ‘Anastasia’ at the Broadhurst Theatre

As the theatre season races to the end of its nomination deadline for the Tony Awards, musical shows are exploding all over the place. We’ve had half a dozen in the last two weeks, and Anastasia squeezed in during one of them. It opened at the Broadhurst Theatre on April 24th and continued the current […]

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The League of Professional Theatre Women’s 2017 Awards Celebration and Big Mingle

Founded in 1981, the mission of the League of Professional Theatre Women, a non-profit advocacy organization headquartered in New York City, is to promote increased opportunities, greater visibility, and a positive image for women in the field, through numerous programs and events. Each year the LPTW holds an awards presentation to recognize the exemplary work […]

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2016 Capital Fringe Review: ‘Romanov’

Romanov, at Flashpoint Mead Theatre Lab, is a show that will pull you in different directions, musically (electro-pop opera?) and emotionally (did wrong or done wrong?)—and leave you sitting straight up. Staring at a dark and nearly empty stage as you find your seat (true to Fringe aesthetics and economics, it’s minimalist: a blond wood […]

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The Women’s Voices Theater Festival ‘Princess Margaret’ at The Thelma Theatre

Princess Margaret, a world premiere by Thelma Theatre, is an intriguing new play about a Catholic school and the universal power struggle between student and teacher, teacher and administrators, and administrators and community. It’s a meaty script bolstered by solid performances. Thelma Theatre, led by Patricia Connelly, who also wrote the play, is dedicated to […]

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‘Lucky Stiff’ at Montgomery College by Joel Markowitz

If you are a fan of Ragtime, Anastasia (the film), Seussical, and Once on This Island, you may not know that writing team Lynn Ahrens (Book and Lyrics) and Stephen Flaherty (Music) wrote a 1988 musical called  Lucky Stiff  – a sort of pre-Weekend at Bernie’s set to music, based on. It opened at Playwrights Horizons Off-Broadway in 1988 and critics […]

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