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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.
Both a dance party and an Oscar Wilde book club, this musical tries to connect the rise of social media to the end of the world.
After more than 20 years in the musical, Donna Marie Asbury played her final Broadway performance this week.
Lin-Manuel Miranda is a character, and his hit musical is a punching bag, in Ishmael Reed’s didactic play about historical correctness.
She’s making her first foray into theater — while also taking on a Will Smith action flick and the role of Huntress in ‘Birds of Prey.’
In Elise Forier Edie’s play, Alice Ripley plays a conservative Texas parent inspired to fight for the rights of her child’s gender identity.
The Irish Rep production of an O’Casey classic isn’t snazzy, but satisfaction comes from expert actors in complex roles.
Adam Seidel’s play puts two songwriters in the same room, while the music industry watches out for its own economic interests.
Yes, it has clowns and death-defying feats, but “Luzia” also has spinning turntables and a waterfall that produces almost-supernatural effects.
The play, based on the story of Buddy Bolden, a cornetist who is said to be one of jazz’s founders, is equal parts theater, concert and dance party.
Kaneza Schaal’s experimental theater work has three sections and is paired with an installation featuring paintings and videos of the show’s inspirations.
Thaddeus Phillips’s genial show retreats every time things get sticky or uncomfortable.