Watch Rudetsky break down the vocals and onstage performance in The Actors Fund concert of Funny Girl, held September 23, 2002.

Presented by Live & In Color, the contemporary re-imagining of the Book of Genesis is directed by Andréa Burns, Devanand Janki, Alan Muraoka, and more.

The live stream benefits the NAACP Legal Defense Fund.

This summer Theatreworks USA will present the Off-Broadway Premiere.

Zanna, Don't!, a pop musical fairy tale about Zanna, a fashionably hip transvestite matchmaker with superpowers, will have public readings June 10-12 in New York following rewrites made since February readings.

The new Broadway musical Side Show opened Oct. 16 at the Richard Rodgers Theatre. The show tells the true story of Daisy and Violet Hilton, identical twins joined at the hip, who performed in show business in the early years of the 20th century.

Chicago Shakespeare Theater (CST) artistic director Barbara Gaines and executive director Criss Henderson unveiled the Tony Award-winning company's eclectic 2009-10 season, to include works by Coward, Chekhov and more.

The 20th Annual Lucille Lortel Awards for Outstanding Achievement Off Broadway, hosted by Bruce Vilanch and Julie Halston, were presented May 2 at Dodger Stages in midtown Manhattan.

It's Off-Broadway's big night, and not just because Bruce Vilanch is in the house.

Doubt, Intimate Apparel, Hurlyburly, Altar Boyz and The 25th Annual Putnam County Spelling Bee are among the shows to receive multiple 2005 Lucille Lortel Award nominations. The noms were announced April 4.

BETTY BUCKLEY
Betty Buckley received a rave review in the Chicago Sun-Times for her recent concert at the Ravinia Festival in Highland Parks, Ill. Theatre critic Hedy Weiss had this to say about Buckley’s evening of song: “No one can forget for a single moment that Betty Buckley is a Broadway diva, and that includes Buckley herself. Just watch her take hold of the Andrew Lloyd Webber ‘arias’ from Cats and Sunset Boulevard, and all the grand gestures, gargantuan passions and big bursts of sound that go with them. Buckley sings Grizabella's ‘Memory’ and Norma Desmond's ‘With One Look’ and ‘As If We Never Said Goodbye’ as if they were still opening night stardom tests . . . But there is another side to Buckley, too. And, as her Monday evening concert at the Ravinia Festival's Martin Theatre revealed, it runs equally deep. This is the more internalized, poetic, experimental aspect of her performing personality, and it is hugely appealing. In fact, it may be that the tension between the diva and the cabaret-style actress-singer who must establish a very different kind of intimacy with her audience is what keeps the Texas-bred singer's concert work so exciting. Just listen to the mix of bravura force and contained heat she brings to Stephen Sondheim's extraordinary love song, ‘Not a Day Goes By.’ . . . She brings a totally fresh midlife perspective to ‘Neverland,’ the Peter Pan classic (interlaced with gorgeous, jazzy piano riffs by her superb accompanist, Bruce Barth.) And she delivers a razor-sharp version of ‘Stars and the Moon,’ a story-song about a woman who made the wrong choices in life, written by Jason Robert Brown, the young composer-lyricist of Parade. To champion the work of another of the new wave of poetic theater composers, Ricky Ian Gordon, Buckley sang two of his entrancing songs -- one set to lyrics drawn from Dorothy Parker (‘The Red Dress’) and another by Emily Dickinson (the breathtaking ‘Where Morning Lies’) . . . As the French might put it, Buckley is now ‘a woman of a certain age.’ She brings her experience and her pain, her disappointment and her neuroses with her to the stage. And when all this is filtered through the songs (rather than the banter) it is transformed into something rich and often riveting. You could hear this happen in a lovely encore as she shaped the song ‘Serenity,’ from the recent Broadway musical, Triumph of Love. In it, a philosopher loses her head in love.”

BETTY BUCKLEY
Betty Buckley received a rave review in the Chicago Sun-Times for her recent concert at the Ravinia Festival in Highland Parks, Ill. Theatre critic Hedy Weiss had this to say about Buckley’s evening of song: “No one can forget for a single moment that Betty Buckley is a Broadway diva, and that includes Buckley herself. Just watch her take hold of the Andrew Lloyd Webber ‘arias’ from Cats and Sunset Boulevard, and all the grand gestures, gargantuan passions and big bursts of sound that go with them. Buckley sings Grizabella's ‘Memory’ and Norma Desmond's ‘With One Look’ and ‘As If We Never Said Goodbye’ as if they were still opening night stardom tests . . . But there is another side to Buckley, too. And, as her Monday evening concert at the Ravinia Festival's Martin Theatre revealed, it runs equally deep. This is the more internalized, poetic, experimental aspect of her performing personality, and it is hugely appealing. In fact, it may be that the tension between the diva and the cabaret-style actress-singer who must establish a very different kind of intimacy with her audience is what keeps the Texas-bred singer's concert work so exciting. Just listen to the mix of bravura force and contained heat she brings to Stephen Sondheim's extraordinary love song, ‘Not a Day Goes By.’ . . . She brings a totally fresh midlife perspective to ‘Neverland,’ the Peter Pan classic (interlaced with gorgeous, jazzy piano riffs by her superb accompanist, Bruce Barth.) And she delivers a razor-sharp version of ‘Stars and the Moon,’ a story-song about a woman who made the wrong choices in life, written by Jason Robert Brown, the young composer-lyricist of Parade. To champion the work of another of the new wave of poetic theater composers, Ricky Ian Gordon, Buckley sang two of his entrancing songs -- one set to lyrics drawn from Dorothy Parker (‘The Red Dress’) and another by Emily Dickinson (the breathtaking ‘Where Morning Lies’) . . . As the French might put it, Buckley is now ‘a woman of a certain age.’ She brings her experience and her pain, her disappointment and her neuroses with her to the stage. And when all this is filtered through the songs (rather than the banter) it is transformed into something rich and often riveting. You could hear this happen in a lovely encore as she shaped the song ‘Serenity,’ from the recent Broadway musical, Triumph of Love. In it, a philosopher loses her head in love.”