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Marches and parades are on pause this year. But streamed events and exhibitions are still commemorating King’s achievements.
The Under the Radar Festival entries “Capsule” and “Disclaimer” explore intimacy, isolation and identity. Bring your own fenugreek.
Thanks to streaming, two American critics got to binge a bunch of the holiday extravaganzas. So how does this silly British tradition translate?
“Stars in the House,” a variety show and fund-raiser, started just after the Broadway shutdown. Some 250 episodes later, its creators won’t quit.
Stream productions of reimagined fairy tales and Christmas standards like ‘A Christmas Carol’ being staged at theaters around the world.
Theatermakers are devising new, immersive ways to engage children, with a few sending boxes of props and set pieces to your home.
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.
Williamstown Theater Festival’s summer season is now a winter experiment, all on audio. That includes “A Streetcar Named Desire,” recorded in actor’s closets.
With its latest show, the Geffen Playhouse in Los Angeles has cornered the American market on long-running, agreeable online theater.
An all-star cast came together, remotely and in socially distanced shoots, to turn Ta-Nehisi Coates’s memoir into a vivid amalgam of art, music and performance for HBO.
Connection or isolation? Intensity or escape? This spate of shows that put the watcher to work are rewarding, but often in contrasting ways.
A musical satire reframes the origins of the invasion of Iraq as a story of bureaucratic bungles and spy games gone catastrophically wrong.
The immersive games are reinventing for online, at-home play — which is no surprise, an industry expert said: “These folks are deeply creative, and they’re scrappy.”
Sarah Kane’s 1999 play, performed live at the Chichester Festival Theater and available to stream this week, meditates on power and powerlessness, and makes specific devastation feel unive…
Theaters may be closed, but streamers and studios are flocking to the stage to meet the insatiable demand for content.
Three British companies reimagine a murder mystery for the virtual stage. Except there’s no stage, and no part of it is live.
The goal: a comedy about mistaken racial identity inspired by protests over “Miss Saigon.” The result: a backstage farce that never got to opening night.
In New York, trick-or-treating has been curtailed, and parades called off. But there are plenty of ways to please and spook the little ones.
An immersive work at the Wild Project asks the sole audience member to consider the value of life while role playing as an office worker involved in calculating risk of death.
The playwright whips up a virtual ensemble of eccentrics, but his vision feels out of step with the moment.
A strange year for Broadway, with fewer shows than usual eligible for major awards, has brought up an equally strange, if intriguing, set of nominees
“What?” James Monroe Iglehart said. …
Two immersive audio pieces, in the form of an automated phone system and a play told as recordings from a grim future, talk about trying and failing to connect with others.
Radha Blank spent years trying to impress the theater world. Now, her Sundance hit, “The Forty-Year-Old Version,” is proof that dreams don’t expire.
In a few minutes or a full show, these performers capture heartbreak, fury and laughs. For the words of Samuel Beckett, a disembodied mouth did the trick.
Coronavirus travel restrictions don’t prevent the mentalist from visiting your head in this hourlong online show.
If you participate in a sound walk and no one is there to applaud, does it count as theater? Our critic argues that it does. Or at least that it can.
Six months dark. Thousands of artists out of work. Could this disaster have a surprise ending? Five critics on what must change, onstage and off.
Announcing stage productions, and timing, has become a matter of wishful thinking, guesswork and experimentation. Case in point: the no-show plan.
Among the performances you can catch online are a one-woman show about sexual assault and riffs on “Heart of Darkness” and “Rocky.”
Immersive productions — from a wizardly treasure hunt to tall tales by phone or email — keep a young audience both entertained and active.
Sifting evidence and debating whodunit with strangers turns out to be an especially successful way for theater to be enjoyed from a laptop.