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“Cartography,” a multimedia work inspired by migrants’ stories, presents their journeys as universal and heroic, not merely tales of suffering.
With powerfully contemporary stagings of “Betrayal” and “Cyrano,” Jamie Lloyd has had an attention-grabbing year. That’s not what makes him hard to miss.
Steven Skybell was finally the right age for Tevye. Little did he know that when the time came, the show would be in Yiddish, and for a surprisingly long run that ended Sunday.
The acrobatics in “’Twas the Night Before…” at Madison Square Garden are perfectly diverting, despite an illegible plot.
Lois Smith, Estelle Parsons and Vinie Burrows on age, agility, perseverance and steering clear of “self-pitying old” roles.
Amusing monologues and oddball encounters enliven T. Adamson’s overstuffed play that follows two friends on a very long car ride.
Donja R. Love’s powerful play balances tenderness and fury to explore how H.I.V. has become a ”hidden emergency” in the black community.
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.
Inua Ellams discusses his surprise hit play, which has its New York premiere at the Next Wave Festival this week.
Alan Lightman’s novel loses its charm in Joanne Sydney Lessner and Joshua Rosenblum’s show, which lacks a sense of a sure artistic voice.
A critic who once resisted the charms of this holiday clownfest found herself floating on happiness this time around.
This meandering jazz-infused drama, told across generations of a black family, strains to pull its focus from white women.
The return of Tony Kushner’s “A Bright Room Called Day” prompted us to ask leading writers: How did it go for you? And what did you learn?
The Next Wave festival’s latest digital dive: A tale of grief staged in a Brooklyn cafe that the audience only pieces together by smartphone.
Anthony Black’s play is about the life-sustaining power of creating art. But it never overcomes the dull short story from which it’s adapted.
In this Irish production, an 11-year-old actor plays the child who died too soon to get to know his immortal father.
Jazz unites two brothers, one accused of plotting terrorism, in Idris Goodwin’s play.
A bracingly lucid Corey Stoll embodies Shakespeare’s thane who, step by step, cedes his soul to his own darkest impulses.
Sylvia Khoury’s insidiously sharp new play arrives as the eight-year-old conflict is making fresh headlines in the United States.
In Sean Daniels’s grim autobiographical comedy, a charming stage director tries, and tries again, to sober up.
George Bernard Shaw gets sensitively streamlined in a briskly entertaining production with winning performers at its center.
Kate Hamill and Andrus Nichols made their names in a theater company specializing in scaled-down classics. Now they’re forming their own troupe.
An easily legible production of the ancient Greek tragedy borrows from the tradition of Noh theater at the Park Avenue Armory.
John Glover lifts Michael Tucker’s otherwise convoluted and crowded dramedy of baby boomers contemplating life on a commune.
By definition, live theater vanishes in the moment; Ms. Corwin pushed to have shows videotaped and deposited in a library collection, which she ran for decades.
A French stage adaptation of the John Cassavetes film misses the #MeToo moment.
Ntozake Shange’s play, with its unflinching depiction of black women’s experience, is coming back to the Public Theater more than 40 years after opening there.
The Flea Theater has revived this brief play, in which a flat tire is the least of the problems you might encounter in Central Park.
Was it a one-time telephone interruption, or was it written into the show? And why was it so crucial to find out?
A frenzy of strained joke-making and audience participation overwhelms a promising exploration of romance in the internet age.
The screen and stage star is making his Broadway debut as the bottled-up husband wearing a “mask of control” in Harold Pinter’s romantic triangle.