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In a Spanish-language stage adaptation of the Junot Díaz novel, the friendship between two Dominican men is a testing ground for competing visions of masculinity.
Barra Grant’s autobiographical solo play plumbs her fraught relationship with her mother, the famous politician and beauty queen Bess Myerson.
This documentary show, created to teach young audiences about the experiences of refugees, focuses on optimism and hope, perhaps to a fault.
With a gown and love for old Hollywood, Busch stars in his latest zany romp, “The Confession of Lily Dare.”
“Anything Can Happen in the Theater: The Musical World of Maury Yeston” is an old-fashioned revue that ably showcases the Tony-winning songwriter.
This cryptic play at the Brick Theater examining a certain kind of mythological American noir is wonderfully flabbergasting, and often genuinely creepy.
George Eastman’s Off Broadway play is lifted by its direction and performances, but often feels like a cornball sitcom.
Shows that defied categorization offered a stark choice: Escape an angry world, or face up to its travails. Beyond Broadway, writers explored race, inequality and addiction.
It’s time for Broadway to embrace what’s most joyous about songbook shows. Not biography, not coherence, but excess. Even “Moulin Rouge!” doesn’t quite get it right.
A new play focuses on the first woman to win the Nobel Prize and her friendship with Hertha Ayrton, a fellow scientist played by Kate Mulgrew.
James Sheldon’s play examines what happens when trauma is used to material ends.
A tepid thriller from Matt Williams leaves too much time to ponder the holes in its plot.
Raúl Esparza faces the realities of the restaurant business in Theresa Rebeck’s energetic but formulaic art-versus-commerce comedy.
While Renée Zellweger plays the star onscreen, a host of cabaret performers pay homage to the gay icon night after night onstage.
The “Arrested Development” actress made quite the New York stage debut, repeating one fiery scene opposite about 100 different actors in “The Second Woman.”
Focusing on the entertainer’s early years, this Paper Mill Playhouse musical offers buoyant tap numbers but sidesteps the material’s most troubling implications.
In a work opening with a goat tethered to a cinder block, the closest we get to Tchaikovsky’s ballet is four dancers representing swans.
Intimate but distant by design, Andy Bragen’s play takes us on a journey many are likely to face with an aging parent.
Set in a bar on Christmas Eve, this revival at the Irish Repertory Theater plays alcoholism for drama without resorting to boozy histrionics.
The downtown rock raconteuse Tammy Faye Starlite is celebrating the 40th anniversary of “Broken English” in this hybrid of a show.
A director and a composer play versions of themselves in a fascinating but frustrating reconsideration of a movie infamous for its use of blackface.
An Australian production features the same scene repeated 100 times, while a French version stars Isabelle Adjani in the Gena Rowlands role.
A woman watches those she left behind in Milly Thomas’s unsentimental solo show at the Fourth Street Theater.
The latest production by Theater Mitu is a high-concept, low-reward aggregate of undigested allusions.
In Elaine Murphy’s play, three women from one Dublin family tell a slice-of-life story through interwoven, interlocking monologues.
“Havel: The Passion of Thought,” along with work by Harold Pinter and one by Samuel Beckett (dedicated to Havel), takes on morality and tyranny.
The young, gay, black creator of the musical “A Strange Loop” talks about his process, Liz Phair, soap operas and just about everything else.
“The Prom” is the rare show with lesbian themes to reach theater’s biggest stage. Gay women deserve more than drawing their own conclusions about Princess Elsa and Scout Finch.
In a limited run Off Broadway, the jukebox musical about love and rocking out in the 1980s now includes songs by Def Leppard.
Plays in this Ensemble Studio Theater series include stories of the Second Coming told seven ways and two women in search of a hot duck.
In Crystal Skillman’s new play, a woman in the wake of tragedy resorts to magic and misdirection.