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Gerard Alessandrini’s franchise was looking as long in the tooth as the shows it aimed to skewer. A new edition brings it back to hilarious life.
This jubilant production, choreographed by Annie-B Parson, transforms an icon of alienation into a cosmically cozy senior statesman.
Michael Mayer’s revitalizing revival of this genially gruesome classic becomes a sly morality tale for the age of universal celebrity.
Trip Cullman’s unmoored production of this atypical comedy from Tennessee Williams presents sexual attraction as a raging force of nature.
This head-tripping play from Branden Jacobs-Jenkins, inspired by Euripides’ “The Bacchae,” allows women past and present to find catharsis in one truly wild bash.
Tracy Letts, the author of “August: Osage County,” reinvents the midlife crisis play with a hilarity that scalds in this Steppenwolf production.
Ross Golan’s dark chamber musical, based on a concept album, stars the excellent Joshua Henry as an innocent man on the lam.
In this haunting memoir of his relationship with a homeless man, Mr. Oliver confirms his status as a poet laureate of New York’s dispossessed.
This exultant evening of improvised rap — created by Thomas Kail, Lin-Manuel Miranda and Anthony Veneziale — turns out to be a perfect fit for Broadway.
Ben Brantley and Jesse Green respond to readers curious about the Tony race, hungry for happy fare, and heading to London.
Alexis Scheer’s vibrant play about four teenage girls, a Ouija board and a narco-terrorist summons the truly scary spirits that keep us awake at night.
In Jack Thorne’s listless new play, a group of feckless friends gather to discuss Anne Tyler and share their self-consciousness.
This distillation of Don DeLillo’s 1985 novel, by the director who deconstructed “Oklahoma!,” catalogs the clutter of the American mind.
His eyesight failing but schedule still packed, the 94-year-old stage director reflects on a globe-spanning career that includes a New York premiere this week.
Jaclyn Backhaus’s slapdash comedy, at Playwright’s Horizons, travels through time to coax oppressed spouses out of their powerful husband’s shadows.
This one-mentalist show, in which Mr. Brown peers into the minds of his audience, offers exhilaration and comfort to New York City’s head cases.
Mr. Hiddleston, Zawe Ashton and Charlie Cox portray three friends in flux in Jamie Lloyd’s revelatory interpretation of a Harold Pinter classic.
New York stages will bop to the songbooks of Bob Dylan, Alanis Morissette, Tina Turner and David Byrne this season. And that’s not counting the 70 songwriters of “Moulin Rouge!”
Jonathan Spector’s lively portrait of a debate over mandatory vaccinations is the perfect play for our age of disagreement.
Jason O’Connell and Brenda Withers’s adaptation of “Cyrano de Bergerac” at the Hudson Valley Shakespeare Festival asks us not to take anything at face value.
Andrew Scott, John Malkovich and Clive Owen are among the West End actors portraying men hopelessly in thrall to erotic impulses.
The trapezes disguised as bedding may encourage you to trip the enchanted glade with the frisky cast of this London production. Feel free.
Jonathan Cake finds the cracks in the macho surface of Shakespeare’s strangest tragic hero in Daniel Sullivan’s fiery production in Central Park.
Forbidden pleasures abound in this spectacular musical, starring a dazzling Karen Olivo as a doomed Parisian chanteuse.
In this musical theater piece adapted from a Langston Hughes poem, the bass-baritone Davóne Tines embodies the evolving, divided soul of black America.
Miranda Haymon’s play relocates Kafka’s horrific tale of punishment to a contemporary world where African-American men are expendable entertainment.
In this retelling of Euripides’ tragedy of an abandoned lover, the heroine is a shy seamstress in seclusion in the Queens neighborhood of Corona.
In this latter-day variation on Arthur Miller’s “The Crucible,” the young British dramatist Chris Urch creates a portrait of gay love under siege.
Michael Gordon and Deborah Artman’s unsettling chamber opera, directed by Daniel Fish, unfolds with the scraping sounds of a horror film.
A by-the-numbers jukebox musical weighs the evidence for and against the groundbreaking ’50s disc jockey Alan Freed.
Robert O’Hara’s interpretation of Lorraine Hansberry’s classic, starring a brilliant S. Epatha Merkerson, puts the audience in the hot seat.