All tagged Jeremy Jordan

"American Utopia" will return to Broadway this fall; Nathan Lane and Laurie Metcalf to lead a Broadway revival of "Death of a Salesman"; Disney to release a filmed version of "Hamilton" on Broadway; Spike Lee to film "American Utopia"; "Sing Street" cast album comes out March 26th; Rebecca Luker reveals she has been diagnosed with ALS; Jeremy Jordan to replace Gideon Glick in "Little Shop of Horrors"; RIP Kevin Conway, Paula Kelly, Lynn Cohen, and Orson Bean

James Corden to host the 73rd Tony Awards; "Gary" postpones opening night; "Kiss Me, Kate" extends; Yanni books the Lunt Fontanne Theatre; Anna D. Shapiro to direct "The Devil Wears Prada" musical; "Jekyll & Hyde" musical to receive a film adaption; "Fiddler on the Roof" documentary to premiere this summer; Trump budget threatens to eliminate NEA; Shoshana Bean leads "Waitress" cast; Jeremy Jordan joins April 8th; Brian d'Arcy James to play Officer Krupke in "West Side Story" film adaptation

"Don't Stop Til You Get Enough" cancels pre-Broadway tryout; "Frankie and Johnny in the Clair de Lune" books the Broadshurt; “Network” extends to June; Roundabout announces 2020 Off-Broadway season; "Oklahoma!" cast announced; Annie Golden to headline "Broadway Bounty Hunter"; Claybourne Elder and Bryce Pinkham to lead "Benny & Joon"; private reading of "The Prince of Egypt" held in London; Rob Zombie floats "House of 1,000 Corpses" musical; union controversy over musical orchestrators playing in the pit band; RIP Mark Bramble and Stanley Donen

Broadway legend Carol Channing is dead at 97; Heidi Schreck's "What the Constitution Means to Me" will play 12 weeks on Broadway; Palace Theatre renovations have hit a snag; casting announced for “The Ferryman”, "The Courtroom", "Call Me Madam", and the film version of "West Side Story"; Brittney Johnson becomes first Glinda of color in an English language production of "Wicked"; "Beautiful" marks 5 years with appearance by Carole King

REVIEW: Kerry Washington in “American Son”

“American Son”, a gripping new play on Broadway, is piercingly of the moment, thunderously bleak, written in all caps, and indulgently depressing.  Kerry Washington gives a devastating performance as a black mother living the nightmare of her son interacting with the police, but blunt writing provides shorthanded dialogue and characterizations that are unrealistic and convenient—tooled for the sake of advancing arguments, and provoking the audience, rather effectively serving a coherent social or political mission.