Two of the three partners who established the local franchise of the improv-comedy theater have decided to sell their shares to new players.
“Hamilton” isn’t the first bold, rule-breaking musical that looks at America’s past in a fresh way.
The duo has built a reputation as innovative independent producers and a go-to, work-for-hire team that actors hunger to work with.
Indy native featured in Goodman Theatre’s production of Lorraine Hansberry’s underappreciated American classic.
Local philanthropists Frank and Katrina Basile have contributed $225,000 toward a fundraising campaign for renovating the theater, which will be renamed for the couple.
The best legal thriller I’ve seen in years, Richard Strand’s “Butler” doesn’t venture anywhere near a courtroom, judge’s chamber or jury room.
The purveyor of contemporary plays and musicals plans to leave the popular cultural district, where patrons now struggle to find street parking, for three properties on North Illinois Street.
The group that owns the landmark entertainment and hospitality venue in downtown Indianapolis has decided not to sell the building after Live Nation made an offer late last year.
The hiring of Texas arts administrator Ty Sutton is part of a strategy to streamline ticketing and booking at campus venues and enhance Butler’s presence as an arts destination.
You don’t send your kids to Young Actors Theatre to turn them into stars. You send them to foster a love of creating.
You could feel that split between those who knew what would be catapulted over the French castle wall and those baffled, at least at first, by what all the silliness was about.
Lou Harry reviews Indiana Repertory Theatre’s production of “What I Learned in Paris” (through April 12) and Dance Kaleidoscope’s “Ray & Ella.”
Whether to join the union has always been a dilemma for regional actors, but in Indianapolis the decision is even more difficult as non-union professional theaters proliferate and offer plum roles to build experience.
Before the spunky Fiona showed her true colors in “Shrek,” fairy-tale tropes were turned upside down in “The Paper Bag Princess.” Ben Asaykwee’s theatrical adaptation does it justice.
Sparks fly because these people’s different experiences—the lives they’ve led, choices they’ve made, and ways they’ve opted to remember and/or forget their pasts—actually conflict.