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An imaginary electronic conversation between the two playwrights falls somewhere between a ❤️ and a 🤷.
The “Glee” star is stupendous in the role Barbra Streisand made famous, turning the 1964 musical into something better than we know it to be.
Behind every new New York season are a lot of wannabes, also-rans and hopeless cases to keep track of.
We can no longer ignore the theater’s systemic inequities. But leaving them behind may remake the industry in unexpected ways.
Barrington Stage Company offers a take on the Sondheim-Wheeler classic highlighted by performances in shades of regret.
In this excerpt from “Shy: The Alarmingly Outspoken Memoirs of Mary Rodgers,” a Broadway musical is born at a summer camp.
At the Stratford and the Shaw theater festivals, four heated classics get cool new productions for summer.
The requirements of the theater, and the constant physical and emotional risks facing performers, have many demanding their basic needs as humans.
The Stratford Festival in Ontario opened a glamorous new theater last month that prioritizes the theater itself, not just what surrounds it.
At Shakespeare in the Park, athletic stamina and action-hero charisma muddy the meaning of a play about disability.
At Shakespeare in the Park, athletic stamina and Marvel charisma muddy the meaning of a play about disability.
Frank talk about salaries and the end of unpaid internships are positive steps, but the cost may be fewer opportunities to learn the ropes.
In a strange and beautiful new play by Will Arbery, finding happiness is a process of failing upward.
A revival of the Fats Waller musical revue emphasizes the blues in its blueprints.
Many of the “great men” who helped America create its classics, its institutions and its own acting style were tyrants. We need to cut them loose.
The comedian’s memoir was funny. But when the new show based on it tries for something deeper, it sinks into bathos.
Édouard Louis grew up scorned by his family for being gay. Now he sees homophobia as part of the portfolio of “humiliation by the ruling class.”
Decoding the Tony nominations, our critics review a season of bold productions that met audiences often craving the familiar.
A critic’s picks in a hard-to-predict Broadway year, plus nods to shows from Off Broadway and other, odder corners.
The Tony nominations spread the wealth among many worthy (and a few unworthy) productions, as if to salute them for arriving at all.
Alice Childress’s 1962 play about interracial love and hate gets its first major New York revival in 50 years.
Samuel D. Hunter’s heartbreaking new play argues for hope even in the face of extreme disappointment.
Daniel Craig and Ruth Negga star in Sam Gold’s oddly uneasy take on the Scottish play.
Seven female farceurs bring Selina Fillinger’s new Broadway comedy about the president’s protectors to life.
Beanie Feldstein stars as the comic Fanny Brice in the show’s return after almost 60 years.
Martin McDonagh’s rollicking comedy about capital punishment, now on Broadway, feels like a perfect fit for our unjust times.
In Tracy Letts’s new play, a tedious City Council meeting cracks open to reveal the secret record of what happened in Big Cherry.
Sam Rockwell, Laurence Fishburne and Darren Criss star in an electric revival of the David Mamet play about capitalism in a junk shop.
James McAvoy gives a ravishing performance, without benefit of prosthetics or props, in a new adaptation alive with the love of language.
Put three gay frenemies in a Palm Springs Airbnb and what happens? In JC Lee’s new comedy, not enough.
Richard Greenberg’s 2002 play about baseball and homophobia gets a fine revival starring Jesse Williams and Jesse Tyler Ferguson.