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April Matthis’s sensational performance anchors Lydia R. Diamond’s play about the first woman of any race to appear in a professional baseball game.
Despite its top creative team, an adaptation of the popular Sue Monk Kidd novel feels like a first draft.
A delicious production of the great Shakespearean comedy starring Danielle Brooks and set squarely in our #MeToo and Black Lives Matter moment.
Swinging lights. Broadway beefs. Words of wisdom. And a restroom serenade. If only some of the highlights were on TV.
For decades, our photographers have gotten intimate access backstage. Peek in as they capture stars, before the show and before the mirror.
Based on real events, the Steppenwolf Theater Company’s new play tells the story of a Chicago drag queen who throws her fabulous hat into the ring.
Working opposite ends of the volume spectrum, two musicals, the new “Six” and a reinterpreted “Next to Normal,” find their levels.
Audra McDonald and Michael Shannon star in a touching revival of Terrence McNally’s play about first and last chances.
There’s plenty to enjoy in this adaptation of a 1984 movie set at a Long Island beach club. But plenty to fix, as well.
A new adaptation of “The Oresteia” reminds us that a 2,400-year-old work can still feel appallingly familiar.
Now in its third year, this Broadway hit has grown up by aging down.
Can a foolish mainstream movie dramatize ecological crisis? Can a smart play?
At the center of Chisa Hutchinson’s one-woman play, written for Audible, is a love triangle with just one side in view.
Adventurous directors and galvanizing performances made for unexpected — and very welcome — departures on what once felt like the Staid White Way.
The chief theater critics for The Times choose who they think should win and who should have been nominated.
Merciless comedy shades to delicate tragedy in a terrific playwriting debut from the poet and performer Aziza Barnes.
Women on the front lines of danger in 1963 were often pushed to the backbench of the civil rights movement. A new play gives them their due.
A flamboyant artiste who danced nearly naked into his 80s gives one last performance in a new play from the Civilians.
New York Times theater critics on a Tonys roster that highlighted originality, if not diversity, and made room for some welcome surprises.
These plays deliver a jolt.
The Broadway adaptation of the 1982 movie is the rare reimagining that actually keeps you laughing.
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?