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In “Sea Wall/A Life,” at the Public Theater, a pair of monologues gives the two stars ample opportunity to shine and mourn.
Since you provide the content for this group’s delightful hip-hop musical improvisation, you really have to lend them your ears (and phones).
This 1950 musical has some charming numbers, but without a monster personality at its center it seems like less of a comedy than a requiem.
A prizewinning play by Leah Nanako Winkler puts the traditional “crazy family” dramedy in a new social and racial setting.
Laura Benanti and three other recently arrived principals adjust the focus of the hit revival from the political to the personal.
With the help of fresh air, a Mother Abbess and a mild hallucinogen, six women spend a week in search of a female spirituality.
Calvin Trillin has turned his heartbroken memoir into a stage play that reincarnates his beloved wife and muse.
The Italian conductor (and philanderer and anti-Fascist) gets the Great Man treatment from Ensemble for the Romantic Century.
Something groundbreaking on Broadway: The story of “an effeminate young man of color” who finds his strength through singing.
Offerings at the festival include a riff on “Uncle Vanya”; a “Frankenstein” adaptation highlighting a mother’s grief; and an intimate tale of displacement.
An eclectic opening weekend included sketches and songs by Nigerian women, two unsettling monologues and a punk-rock reminiscence (with mixtape to follow).
Glossy and bristling with fine performances, this adaptation of the 1960 Harper Lee classic gets the Aaron Sorkin treatment.
A revival of Lynn Nottage’s 2004 satire puts an unexpected spin on the religion of American reinvention.
In her new play, loosely inspired by “A Doll’s House,” Heather Raffo is radiant as a New York architect caught between cultures.
In a staggering professional New York debut, the playwright Jeremy O. Harris unpacks interracial relationships both antebellum and postmodern.
A new play mocks the gender and racial ickiness of the 1933 movie — on a one-paw budget.
It was a year when classics were reincarnated in deceptively modest interpretations, conventional story forms were tossed aside and strong voices roared.
The three faces of Cherilyn Sarkisian Bono Allman are the subject of a new Broadway jukebox musical that’s big on sequins, low on insight.
Off Broadway productions in December consider migrants from Africa, the Middle East and Manhattan, plus one well dressed emissary from Beverly Hills.
A gorgeously illustrated stage version of the classic essay about 1960s California ennui may miss the point.
A delicious new musical about Broadway narcissists, Indiana homophobes, the possibility of accommodation — and zazz.
City Center’s production of the landmark musical from 1975 is a pleasure, an education and a problem.
After eight years of development, a peppy musical about the value of persistence proves its own point.
The one-ton, 20-foot marionette is impressive, but the $35 million musical he stars in doesn’t even succeed as camp.
Larissa FastHorse’s theatrical debunking of the Pilgrims and Natives narrative is really a satire of theatricality itself.
As a black mother with a son in danger, Ms. Washington is up against a situation she may not be able to fix.
Steven Levenson’s new play about young ’60s radicals has the unintentional effect of making all protest seem childish.
Soho Rep continues its laudable tradition of sure-to-be-divisive plays with Kate Tarker’s word-drunk new satire of … well, something.
Samuel D. Hunter’s golden diptych, set in twin cities in Idaho and Washington, gets a riveting production, with barbecue, at the reconfigured Rattlestick.
Miranda Rose Hall’s new play about the relationship between a lesbian and a male-identified trans person grows as it goes along.
Emily Mann’s stage biography of the feminist trailblazer is more of a historical pageant than a play, but what happens at the end is riveting drama.