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Modesto Jimenez, known as Flako, has turned cab theater into a genre, and his latest show takes place on a ride through Bushwick, Brooklyn.
Highlights include concerts by Melissa Errico and Sutton Foster, and an adaptation of Virginia Woolf’s “The Waves.”
The projection designer Jared Mezzocchi has become a go-to guy for ambitious virtual productions. Next up: Starring in his own haunted house play.
Without international tours, streaming high-concept, director-driven European theater is the next best thing to being there.
Highlights include a virtual production of Adam Rapp’s “The Sound Inside” and a new reading series by Roundabout Theater Company.
Among the offerings are a well-matched double bill, Ute Lemper’s tribute to Marlene Dietrich and a virtual revival of Michel Legrand’s musical “Amour.”
In “The Jackson C. Frank Listening Party w/ Special Guests,” the musician is simultaneously central and peripheral to the story.
Presentations include a star-studded reading of “The Thanksgiving Play,” musicals crossing the Atlantic and the Oregon Shakespeare Festival.
The magician explains how he worked up to “In & Of Itself” in a new memoir, “Amoralman,” a prequel of sorts to the show.
The past year has made us rethink the boundaries between theater and film. Many of these shows are a little bit of both.
Audience members can shift from camera to camera in this streaming solo show, like security guards keeping watch.
Anna Moench’s play, about a woman working in social media content moderation, begins with dark humor but slides into psychological horror.
Presentations include the 30th anniversary of George C. Wolfe’s “The Colored Museum”; Andréa Burns in “Bad Dates”; and a solo show by Riz Ahmed.
Patrick Page looks at bad guys, Steven Carl McCasland gives us literary women, and Jill Sobule mines her own history, including the dreaded seventh grade.
Cleverly edited and darkly funny, the latest Theater in Quarantine show finds a nervous couple afraid to go out or let anyone in. Sound familiar?
A film of Derek DelGaudio’s idiosyncratic show captures its surreal vibe and unconventional approach.
The Pasadena Playhouse has a new tribute to Herman, the composer of “Hello, Dolly!,” and Tomei turns up in “Beirut” and “Three Hotels.”
Travis Alabanza’s monologue starring Reece Lyons examines agency and safety, here inextricably intertwined with identity.
The shows have not been staged, but three concept albums are at the center of a sprawling fictional world created largely by teenagers.
Three theaters are exploring “Swingin’ the Dream,” which tanked on Broadway in 1939, but opens a window on the racial and artistic dynamics of its time.
The Under the Radar, Prototype and Exponential festivals are ready to open our minds with experimental work, even if their doors are shut.
Thanks to streaming, two American critics got to binge a bunch of the holiday extravaganzas. So how does this silly British tradition translate?
With their field rocked by unprecedented challenges in 2020, these people and groups — some notable, some new — stepped into the breach.
Be an #ArtsHero started with a failed effort to extend unemployment benefits. It’s gone on to be a prime proponent of the message: Cultural work is labor.
Plays by Mike Bartlett, Christina Anderson and Halley Feiffer are watchable at home, too. And for an alternative holiday hit, “Burning Bluebeard.”
Open-air shows. Joint productions. Filmed dress rehearsals. Here’s a faraway close-up on how one theater community has stayed reasonably robust in adversity.
Alan Cumming and Patti LuPone add their voices to this season’s tidings, plus a gender-bending Scrooge and a live broadcast of “The Grinch Musical!”
It wasn’t the year for celebration. But watching innovation flourish inspired our chief critic, while other writers found the joys of the stage in other media.
As Split Britches, Peggy Shaw and Lois Weaver have made off-kilter theater for 40 years. Memory loss, and a pandemic, haven’t stopped their creating.
Constance Wu and Samira Wiley star in a Zoom-ified Chekhov play, and Ars Nova punches above its weight with a 24-hour telethon.
With nods to Duchamp and Dada, this interactive production raises questions about fate, narrative convention and the process of making art.