The musical is the first such telling of Kahlo’s life that has been sanctioned by her family, and draws in part on details from Intimate Frida, a book by her niece Isolda P. Kahlo.
Director Steven Spielberg, long fixated on absent dads, interrogates this theme and other issues of patriarchy and gender roles in his cinematic take on the classic show.
Despite being out of circulation, the 1970 behind-the-scenes Broadway documentary Original Cast Album: Company remains revered by both film and theater fans.
The former White House Director of Communications holds his second-ever press conference, but it’s for a new Off-Broadway musical lampooning the Trump family.
Hadestown combines and retells two classical myths — that of Orpheus and Eurydice, and that of Persephone — through a sizzling New Orleans jazz score by Anaïs Mitchell.
Katdashians! Break the Musical! began 15 minutes late. If only that were its gravest error.
On the surface, the new musical Southern Comfort has all the trappings of a conventional family drama.
The musical Lazarus, currently nearing the end of a sold-out run at the New York Theatre Workshop, is the closest we’ll get to a final David Bowie performance.
Broadway in 2015 still has a major deficit of diversity.
Next year, to commemorate the 125th anniversary of Vincent van Gogh’s death, a consortium called the Van Gogh Europe Foundation will honor the artist with events across three countries: exhibitions, tours, lectures, films, and … a musical.
First, there was Leonardo the Musical, a mostly fictional production about Leonardo da Vinci and the Mona Lisa. Then there was the three-hour-long Starry Nights, about, yes, Vincent van Gogh. Next came Pop!, a piece of “canned camp,” as the New York Times called it, focused on Andy Warhol and the Factory, followed by Michelangelo the Musical (a no-brainer). And now … now, dear art lovers, there is Basquiat the Musical. (People really need to get more creative with titling.)