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An old-fashioned, overliteral revival of the 1947 play stars Tracy Letts and Annette Bening.
This comedic sequel to “Titus Andronicus” finds Nathan Lane and Kristine Nielsen cleaning up after a Shakespearean blood bath.
After a downtown stop, a concept album based on Greek myths has become a full-scale Broadway entertainment.
The latest play from the Mad Ones finds the seeds of momentous social change in a 1979 focus group about a kids’ television show.
If the nuance-free singing doesn’t turn you against this revue of songs with lyrics by Oscar Hammerstein, perhaps his holographic ghost will do the trick.
A revival of the Marc Blitzstein “play in music” about unions and kleptocrats is too wan to make much of the material’s contradictions.
“What the Constitution Means to Me,” the best new play of the Broadway season so far, rivetingly combines personal history and civic engagement.
What if black people, sick of injustice, picked up and left the United States? An outrageous satire by Jordan E. Cooper imagines the possibility, and the loss.
What happens when the husband you thought you knew is discovered harboring a terrible secret? Maddie Corman learned the hard way.
How should we look at an old show with objectionable gender politics? As a historical curio, or as the next item on the cancel culture agenda?
A threatening text message with a homophobic epithet leads to catastrophe for two families in a new play by Michael McKeever.
In John Guare’s Möbius strip of a play, John Larroquette is a playwright who finds himself trapped in a surreal mystery called “Nantucket Sleigh Ride.”
With a few changes of emphasis and one major lyric rewrite, the 1948 musical comedy comes through detox as a bawdy, heady pleasure.
Tori Sampson’s play blends elements of mean-girl comedy and African folk tale to create a fable for our time about women and their bodies.
Milo Rau, called “the world’s most controversial director,” asks a cast of young people to relate the story of a notorious Belgian pedophile.
Bekah Brunstetter’s timely comedy about a Christian baker looks with sympathy (if not approval) at the other side of the public accommodation debate.
Look! Up on the stage! It’s a show with good intentions (and a “Dear Evan Hansen”-like setup) that can’t rise above its cartoonish plot.
The fine Signature Theater revival of Athol Fugard’s 1969 play shows how a classic seemingly fixed in one era nevertheless keeps evolving.
Madeleine George’s new play brings back the god Dionysus to convince the women of Monmouth County, N.J., that the ecological end is near.
The path to opening night in New York used to pass through several cities. Now it rarely does — but are shows better off for it?
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).