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A three-day retrospective will shine a spotlight on the group’s most daring projects.
Honoring Pride, Juneteenth and the Fourth of July, the festival features Idina Menzel and Tonya Pinkins alongside poets, fire artists and marching bands.
Championing collaboration and digital projects, Mia Yoo is forging her own path at the experimental theater incubator.
The protagonist of this new play by Michael McKeever steps gingerly out of grief’s stasis and into the unknown.
With its production of “The Orchard,” juxtaposing the human and the virtual, the Arlekin Players continue taking creative leaps.
The playwright Trish Harnetiaux’s new show, set entirely in a car, follows a family of travelers. It bravely, if not entirely satisfyingly, explores alternate realities.
Anchuli Felicia King’s play about an internet firewall belongs to multiple genres all at once.
In her new comedy, Ana Nogueira spins zippy fun out of a fairly conventional story about a friendship strained by resentment.
Taylor, 79, first performed her solo play “Ann,” about the former governor of Texas, in 2010. Now, she’s saying goodbye to the white suit.
Jaquel Spivey graduated from college last May. Now he’s making his Broadway debut as the star of Michael R. Jackson’s Pulitzer Prize-winning musical, “A Strange Loop.”
Known for portraying the luckless Theon Greyjoy on “Game of Thrones,” the British actor shares the items that are helping him prep for his Broadway debut.
Barry Manilow and Bruce Sussman’s musical chronicles the story of the Comedian Harmonists, a sextet of Jews and gentiles in Weimar-era Germany.
A stage version of Antoine de Saint-Exupéry’s classic of children’s literature lands on Broadway but remains stubbornly earthbound.
Laiona Michelle’s tribute show, now at New World Stages, is more an impressionistic portrait for those familiar with the singer’s life and career.
Billy Porter brings a heavy-handed touch as the director and adapter of this 1997 musical about prostitutes and pimps in Manhattan’s bad old days.
Joshua Harmon’s ambitious new play toggles between a contemporary Jewish family facing growing antisemitism and their relatives during World War II.
Two years into the pandemic, this festival, which has gone virtual for now, abjures traditional theatricality and performance.
Ricky Ian Gordon’s “Intimate Apparel” and “The Garden of the Finzi-Continis” are premiering in New York almost simultaneously.
The actor reflects on continuing the Off Broadway revival’s hot streak, and fighting against the stereotypes facing Asian American actors.
The Jim Henson TV special was a hit in 1978. Now its furry creatures return in a new theatrical production in Manhattan, just in time for the holiday season.
Digital innovation continued this year, but experiencing plays in isolation grew tiring. Then came an in-person season as exciting as a child’s first fireworks.
The country singer and musical-theater fan was grateful to play the intense title role in “Waitress” not long after her Broadway-themed album came out.
Lines of Stephen Sondheim fans formed outside Marie’s Crisis Cafe in Greenwich Village as news of his death spread. Inside, it was all-Sondheim on the piano.
Red Bull Theater brings on the cons and their marks in this adaptation of the 17th-century Ben Jonson work.
In this workplace comedy, beleaguered colleagues struggle to come together for an active-shooter training exercise.
This maddening, brain-scrambling show, which just opened at the esteemed Soho Rep, is nothing if not slippery, our critic writes.
The Wooster Group’s production will prompt discussions about the company’s vision for Brecht’s “learning play.”
Linda Bloodworth-Thomason’s popular TV series comes to the stage with its sisterhood intact. But at times this revival feels a lot like a pretext to vent.
She has portrayed three characters over the course of the 12 plays in Richard Nelson’s “Rhinebeck Panorama.” A decade later, it’s time to move on.
The characters he plays are “a departure from how people perceive” them. He’s testing perceptions again as one of the famous banking brothers in “The Lehman Trilogy.”
Michael Kinnan’s sendup of “Titanic” explores the liminal space between tribute and affectionate satire.