Bob Mackie on bringing Cher’s fashion to the stage
“The Cher Show” recreates Bob Mackie’s decades-long collaboration with Cher in two ways.
First, there’s the parade of Cher’s eye-popping looks, designed by Mackie...
‘Ain’t Too Proud’s’ Des McAnuff and Sergio Trujillo on crafting jukebox musicals
In taking on the story of the Temptations, choreographer Sergio Trujillo knew he wanted the dance moves to feel new, with a hint of...
One-liners from ‘Tootsie’ scribe Robert Horn
“Penguins can rotate their heads 360 degrees. But only once.”
So goes one of the many zingers in the musical “Tootsie,” crafted by book writer...
Choreographer Warren Carlyle on how ‘Kiss Me, Kate’ moves
In “Bianca,” one of the many dance-centric numbers in “Kiss Me, Kate,” Corbin Bleu zips up and down the staircase, tapping every surface until...
‘Oklahoma!’ through the eyes of director Daniel Fish
In Daniel Fish’s “Oklahoma!,” Curly plays guitar and a seven-piece bluegrass band accompanies him as crockpots bubble on the edge of the stage.
Those...
Heidi Schreck on bringing the ‘Constitution’ to Broadway
For the past few years, Heidi Schreck has been sharing personal stories about her family, as seen through the lens of the U.S. Constitution,...
How ‘Beetlejuice’ composer Eddie Perfect booked two Broadway shows in a season
Composer Eddie Perfect had been taking meetings in New York for close to two years before he got his big Broadway breakthrough.
Thanks to...
How ‘The Ferryman’ sprang to life
Jez Butterworth did not set out to write “The Ferryman.”
Rather, as is the case with many of his plays, inspiration took hold and...
‘Be More Chill’s’ Joe Iconis on why Broadway should be weirder
Joe Iconis likes his musicals to be a little weird.
A little weirdness, after all, means that the audience won't know what to expect...
Director George C. Wolfe on finding the gore and guts of ‘Gary’
In “Gary: A Sequel to Titus Andronicus,” the stage is filled with mountains of dummy corpses that are alternatively used as playthings, stepping stones...