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Audra McDonald, Lin-Manuel Miranda and Joe Mantello on a versatile collaborator who came to know “he didn’t have to repeat himself.’
For over three hours online Sunday night, Rosie O’Donnell praised, kibitzed and made room for Broadway stars to check in with their fans and share music.
As bans on public gatherings have proliferated nationwide in response to coronavirus, shows and special programs are announcing streaming plans daily.
Jessica Blank and Erik Jensen’s show at the Public Theater, with live music by Steve Earle, is based on a real-life West Virginia mining tragedy.
Ethan Lipton’s delirious Western comedy features a pigtailed gunslinger, a soul-sucking demon and singing puppet cactuses, among other inspired flights of fancy.
A “revisal” of a Meredith Willson musical has a strong female lead who doesn’t quit, and her unrelenting energy makes for a static production.
“Girl From the North Country” cast members talk about the first time they heard Dylan’s music.
Cary Gitter’s throwback romantic comedy, about an Orthodox Jew and his Italian-American neighbor, is kind of sweet and kind of clunky.
Drew Droege’s solo show is a laugh-out-loud funny social sendup, but it doesn’t add up to more than a series of vignettes.
Hollywood has long cast her as a bombshell (“Sin City,” “Karen Sisco”), but the actress has found an entirely different track onstage. Next up: “Anatomy of a Suicide.”
In Zora Howard’s new drama, the kitchen is where the characters reveal their bickering-but-loving true selves.
A tale about the 18th-century African-American mathematician includes actors, a vibrant marching band and wackadoo puppetry.
In a Spanish-language stage adaptation of the Junot Díaz novel, the friendship between two Dominican men is a testing ground for competing visions of masculinity.
Barra Grant’s autobiographical solo play plumbs her fraught relationship with her mother, the famous politician and beauty queen Bess Myerson.
This documentary show, created to teach young audiences about the experiences of refugees, focuses on optimism and hope, perhaps to a fault.
With a gown and love for old Hollywood, Busch stars in his latest zany romp, “The Confession of Lily Dare.”
“Anything Can Happen in the Theater: The Musical World of Maury Yeston” is an old-fashioned revue that ably showcases the Tony-winning songwriter.
This cryptic play at the Brick Theater examining a certain kind of mythological American noir is wonderfully flabbergasting, and often genuinely creepy.
George Eastman’s Off Broadway play is lifted by its direction and performances, but often feels like a cornball sitcom.
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.
It’s time for Broadway to embrace what’s most joyous about songbook shows. Not biography, not coherence, but excess. Even “Moulin Rouge!” doesn’t quite get it right.
A new play focuses on the first woman to win the Nobel Prize and her friendship with Hertha Ayrton, a fellow scientist played by Kate Mulgrew.
James Sheldon’s play examines what happens when trauma is used to material ends.
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.