Howard Sherman

Slashing film ticket prices for a nationwide event in the US saw audiences flocking back to cinemas. Theatre could do with a similarly grand gesture to reverse the ongoing trend of low audience attendance, says Howard Sherman

When The Devil Wears Prada opened in Chicago this week all the big New York reviewers were there – upending the rationale of an out-of-town tryout, so is the format dead?, asks Howard Sherman

For all his partisan braying and antagonistic declarations, David Mamet hasn’t toppled from his rarified place on US stages, says Howard Sherman, who asks producers: what message does this send?

Despite winning a slew of awards, including the Pulitzer Prize two decades ago, the playwright only made her Broadway debut in 2017. As her second Broadway production How I Learned to Drive gets underway, she tells Howard Sherman about the barriers faced by creatives from marginalised groups, why di…

As the weekly release of Broadway’s box office grosses returns, Howard Sherman examines what the figures mean for Hugh Jackman’s The Music Man, MJ the Musical and more, and what we can expect from theatre in a post-pandemic world

More than 20 major US theatres have announced new artistic leaders in less than four years, says Howard Sherman, with more likely to follow – it offers the industry a real shot at change

Over the past few years, theatre in the digital realm has evolved into virtual festivals, video games and interactive performances. US digital theatre experts tell Howard Sherman about the future and fabric of this new frontier

Kate Navin worked as a theatrical agent for more than a decade before deciding it was time for a change. Now artistic director of Audible Theater and head of the rapidly growing theatre arm of Amazon’s Audible, she tells Howard Sherman about the positive value of audio theatre as an art form and a v…

Off-Broadway shows Just for Us and Prayer for the French Republic are addressing the scourge of antisemitism worryingly all-too prevalent, says Howard Sherman – the surprise is there aren’t more new plays doing the same

It is somewhat surprising to see a show leaning in to the idea of an audience wanting or needing to imbibe to enjoy it