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Adam Rapp’s play transfers to Broadway in a rivetingly dark and detailed production by David Cromer.
A musical adaptation of the popular fantasy novel comes to Broadway and goes to Hades.
A complex look at democracy from an Asian perspective turns “The King and I” inside out.
This inaugural offering from the Coop squeezes whimsy, character comedy and ecological allegory into one crowded play.
An astonishing new play by Will Arbery risks a rare stage subject: Christian conservatism.
Jeremy O. Harris’s Off Broadway hit about race and sex in America shakes things up on Broadway.
Gay dads and their “woke genius” daughter face the limitations of life in a patchy new play by Jeff Augustin.
Brian Cox plays Lyndon B. Johnson at the height of his powers, when history decided to bring him down.
Ben Brantley and Jesse Green respond to readers curious about the Tony race, hungry for happy fare, and heading to London.
A new work from one of the indisputably great directors is partly a tribute to theater and partly a warning about theatricality.
As a work of high drama, Jesse Green writes, the Trump-Zelensky script lacks stagecraft and subtlety.
Florian Zeller’s tiresome new play features Jonathan Pryce and Eileen Atkins as a long-married couple, one of whom may be dead.
In ‘runboyrun’ and ‘In Old Age,’ the latest installments of Mfoniso Udofia’s nine-play cycle, America is no place to hide from the past.
The epicenter of New York’s AIDS epidemic, St. Vincent’s (1849-2010) is the subject of a memorial service that’s also a play.
A new play argues that no one knows more about Shakespeare’s great tragedy than a man “born black in America.”
Seven of this season’s Broadway and Off Broadway shows come from an eight-week theatrical powerhouse in Williamstown, Mass.
A new musical about a Filipino faith healer bringing “psychic surgery” to America expands the frontiers of the form.
With shrewd casting and amateur performers joining professionals onstage, a middling 1997 animated Disney musical becomes a pageant of civic engagement.
Bess Wohl’s daring, mysterious new play is a comedy of underparenting and a tragedy of selfishness. Or is it the other way around?
A sumptuous Ibsen revival starring Uma Thurman and a knockout premiere by Adam Bock close the Williamstown season with a metaphysical “boo!”
How does who you are affect how you see this Pulitzer Prize-winning drama? Two critics finally have the talk.
As a lowly apprentice on a notorious flop, I got to see how the “Dark Prince” achieved his effects and cut his losses.
Better known for its classics, the Stratford Festival has long presented fine-tuned versions of Broadway musicals. This year: “Billy Elliot” and “Little Shop of Horrors.”
A follow-up to the startling and divisive “Nanette” is just as startling and probably just as divisive.
An Encores! Off-Center revival reveals the tantalizing cleverness and intractable faults of the 1997 (and 1999, 2003, 2004 and 2008) musical.
Annie Golden stars in a musical B-movie pastiche that lands in the gap between tribute and spoof.
This season’s wide-ranging offerings, including Shakespeare and “Little Shop of Horrors,” reveal the surprising root of our longest-lasting stories.
Halley Feiffer’s “Moscow Moscow Moscow Moscow Moscow Moscow” turns the master’s refined Russians into “Mean Girls.”
How did a lush throwback like “People Will Say We’re in Love” become the lean, sexy, countrified number being sung today? Follow along as we break it down.
A new work — and revivals of a classic play and musical — are having a conversation about different kinds of incarceration.