&#39;Broadway&#39; takes a bow in smashing PBS miniseries
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In many ways, the history of the American musical is the history of 20th-century America. And seldom has a history class been as entertaining as &quot;Broadway: The American Musical,&quot; arriving tonight on PBS.
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Can using a TV reality show to pick two stars for a musical revival really be bad for Broadway? Hardly
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The notorious show from London uncovers something grand within the small, squalid lives it portrays.
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The current of intellectual energy snapping through the ferociously engaging screen adaptation of Alan BennettÂs Tony Award-winning play feels like electrical brain stimulation.
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David Hare's new play about the making of the war in Iraq is a valiant, high-reaching history lesson.
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This engaging little musical, whose cheery voice could be heard only intermittently in the big, bad Broadway production, has been liberated at last.
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This film version of the super successful, long running stage musical &#39;The Phantom of the Opera&#39; is virtually a recreation of the stage show, complete with swirling mists, candles rising from
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Special guest Oct. 11-24 on &quot;Radio Playbill&quot; is Michael Kantor, who has spent much of the last decade on an epic project, the six-part TV miniseries, &quot;Broadway: The American Musical,&quot; debuting Oct. 19-21 on PBS.
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In tradition with Broadway versions of &quot;The Lion King&quot;? and &quot;Beauty and the Beast,&quot; the popular animated film franchise about the loveable green ogre is set to become a singing and dancing extravaganza on Broadway.
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PBSâs childrenâs show, where animals talk and have humanlike jobs, is  intermittently interesting, and itâs served up with eye-catching computer-generated animation.
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The actor Jefferson Mays is putting his own spin on professor Henry Higgins in the first major Broadway revival of George Bernard Shawâs âPygmalionâ in more than two decades.
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There is a  magical spot here, just a short crow&#39;s flight from Milwaukee,  that is now designated a national historical landmark and  hallowed ground to anyone with a reverence for the theater&#39;s  past, i.e., those days before Broadway ticket prices zoomed up  past the $450 mark (as we&#39;ve just been informed Mel Brooks&#39;  &quot;Young Frankenstein&quot; is going to cost us per ticket).
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INDIANAPOLIS -- History doesn&#39;t always comply with a television schedule. It cannot be choreographed, even when you think you can see it coming a mile away.
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In a season plump with notable revivals of landmark plays, including Ibsenâs âGhostsâ and Beckettâs âHappy Days,â a rapturous interpretation of Anton Chekhovâs âSeagullâ flies higher than any of them.
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Movie version of the stage production deserves to be seen on a big screen - don&#39;t wait for the DVD. And Emmy Rossum is perfectly cast as Christine.
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It seems fitting that this  revival of Harold Pinter's classic play should arrive on the  40th anniversary of both its original Broadway production and  the first (and ridiculously, only) Broadway appearance by its  star, Ian McShane.
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The four-hour HBO miniseries focuses on the British ruler's affairs of the heart.