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Douglas Carter Beane’s winky fantasia finds Pinocchio, Puck and other unlikely characters meeting cute in a storybook setting.
Deirdre O’Connell brilliantly lip-syncs the testimony of a woman abducted by a white supremacist in a play by Lucas Hnath.
Beneath the dry words of an F.B.I. interview, a new play unearths a world of interior terror.
Squabbling siblings, familiar stereotypes and a chorus of amens: A new play aims for the pleasures of Broadway’s traditional family sitcoms.
The exuberant queenhood-is-powerful pageant about the wives of Henry VIII was shut down on opening night by the pandemic. Now it’s back, and it totally rules.
It takes 15 minutes or less in each segment of “Three Short Plays by Tracy Letts” for the bard of male moral decrepitude to skewer his subjects.
The streaming part of the ceremony actually did a better job conveying the electricity of being in a theater than the CBS special billed as “Broadway’s Back!”
Despite an evening split between streaming and TV, the message on Sunday night was clear: Broadway is back.
For the undocumented immigrant teenagers in Martyna Majok’s unsparing, unsentimental new play, home is a heartbreaking lesson in betrayal.
If you think Ngozi Anyanwu’s new play is a straightforward romance, think again.
In the last installment in his 12-play series, Richard Nelson asks how his characters, and the theater, got where they are today.
Three new plays in experimental styles test the uptown possibilities of truly downtown theater.
Antoinette Chinonye Nwandu’s play about young Black men in peril inaugurates the new season with unexpected joy.
Joshua William Gelb turned a small space in his small apartment into a blueprint for streaming during the pandemic. But what happens as real venues open again?
Jocelyn Bioh reshapes a comedy of clever women, frail men and harsh revenge into one of love and forgiveness, just when New York needs it.
Having revamped “Oklahoma!” into a dark X-ray of itself, Daniel Fish rethinks another Golden Age classic with “Most Happy in Concert.”
New York Stage and Film provides an unlikely haven for inquiring writers of new plays and musicals.
Plays about writers, including “Mr. Fullerton,” a new potboiler probing Edith Wharton’s love life, too often undermine the real brilliance of their subjects.
James Lapine’s book shows how he and Stephen Sondheim invested two years of work to burnish their musical from an avant-garde near-disaster to a mainstream classic.
In new versions of “The Designated Mourner” and “Grasses of Many Colors,” Wallace Shawn brings moral horror right to your ear.
Ann Dowd stars in a contemporary rewrite of Ibsen’s play that forces a community, played by the audience, to make a series of fateful choices.
Two critics on the show’s return — a turning point in live theater and another stage in the rock star’s lifelong evolution.
Father-and-son actors Reed and Ephraim Birney play an anxious doctor and his imaginative patient in a compelling psychological mystery.
A psychological drama from Japan and a classic English comedy are among the high-contrast offerings in the Berkshires and Hudson Valley.
Theater shrank to tiny proportions during the pandemic. Sometimes that’s a big plus.
For 40 Years, he was the man overseeing Rodgers and Hammerstein’s theatre properties including ‘The Sound of Music’ and ‘Carousel!’ After finally stepping down from the role, Ted C…
It has been a tough year for Broadway. Now it’s time to get tough on the show that too often honors investors instead of achievers.
Ted Chapin steps down as the head of the organization that makes sure you revisit “Oklahoma!” and keep hearing “The Sound of Music.”
Talking dogs, green screen thrillers and gold turtles: Online productions, intended as a stopgap, are testing the boundaries of what makes theater theater.
Linked vignettes from five songwriting teams offer lots of head-scratching switcheroos but little for the heart.
In Rinne B. Groff’s historical comedy, the failure of the Equal Rights Amendment in 1947 looks awfully familiar today.