‘A Midsummer Night’s Dream’ Review: Sprinkling Magic Under a Night Sky by Laura Collins-Hughes

Fun is the main point of Carl Cofield’s stylish outdoor staging of Shakespeare’s comic fantasy for the Classical Theater of Harlem.

‘Pre-Existing Condition’ Review: Recovering From a Traumatic Relationship by Laura Collins-Hughes

Marin Ireland’s play opens with Tatiana Maslany in a rotating cast of stars, and “What Became of Us” continues its own experiment with changing casts.

Jessica Lange and Paula Vogel on Breaking, and Keeping, the Family Contract by Laura Collins-Hughes

In the Tony-nominated “Mother Play,” the writer conjures warm memories and thorny ones, not to judge her mother, but to understand — and to forgive.

‘What Became of Us’ Review: Reflections on a Family’s Immigration Tale by Laura Collins-Hughes

Shayan Lotfi’s topical play about a family building a new life in a new country leaves the details vague, deliberately.

What if the Disabled Characters Were Just Going About Their Day? by Laura Collins-Hughes

Madison Ferris and Danny J. Gomez star in the meet-cute “All of Me” — proof that depictions of disability onstage don’t have to be “a buzz kill,” as Ferris puts it.

Book Review: ‘The Playbook,’ by James Shapiro by Laura Collins-Hughes

In “The Playbook,” James Shapiro offers a resonant history of the Federal Theater Project, a Depression-era program that gave work to writers and actors until politics took center stage.

‘The Lonely Few’ Review: Rocking Out and Falling in Love by Laura Collins-Hughes

Lauren Patten and Taylor Iman Jones star in an achingly romantic, softly sexy new musical by Rachel Bonds and Zoe Sarnak.

Review: In ‘Invasive Species,’ the Acting Bug Bites, Dramatically by Laura Collins-Hughes

Maia Novi stars in her play about a Hollywood-struck actress from Argentina who stops at Yale’s drama school and an inpatient psych ward on her way.

Betty Buckley Is Not Wedded to the Same Old Songs by Laura Collins-Hughes

The actress is back in concert mode at 76, and doing new material. She’s also looking forward to a bold new take on “Sunset Boulevard.”

‘The Keep Going Songs’ Review: Vexed by Grief and Worried About the Planet by Laura Collins-Hughes

Abigail and Shaun Bengson muse on death in their latest work, but its looseness makes it hard to get a handle on.

Jessica Lange on Her Role in ‘Mother Play’ and a Tony Nomination by Laura Collins-Hughes

A Starry Cast Navigates ‘Uncle Vanya’ and ‘Every Emotion Under the Sun’ by Laura Collins-Hughes

Steve Carell, William Jackson Harper, Alison Pill and Anika Noni Rose discuss the new translation of Chekhov that brought them to the farm.

Review: A New ‘Great Gatsby’ Leads With Comedy and Romance by Laura Collins-Hughes

This musical adaptation, now on Broadway, is a lot of Jazz Age fun. But it forgot that Fitzgerald’s 1925 novel endures because it is a tragedy.

Review: ‘Grenfell’ Sees Tower Fire Through Residents’ Eyes by Laura Collins-Hughes

At St. Ann’s Warehouse, this documentary play about a London fire is blood-boiling and aggrieved.

‘Agreement’ and ‘Philadelphia, Here I Come!,’ Two Irish Imports by Laura Collins-Hughes

“Agreement,” at Irish Arts Center, and “Philadelphia, Here I Come!,” at Irish Repertory Theater, have a timeless feel, rooted in their eras and resonant in ours.

‘Corruption’ Review: Onstage, a Scandal’s Human Drama Is Muffled by Laura Collins-Hughes

A new play by J.T. Rogers goes behind the scenes of the shady “news-gathering” that rocked Rupert Murdoch’s British media empire over a decade ago.

‘Dead Outlaw’ Review: Not Much of a Bandit, but What a Corpse by Laura Collins-Hughes

The creators of “The Band’s Visit” return with this mischievous ghost story of a musical based on an odd slice of Old West history.

Review: In ‘Brooklyn Laundry,’ There’s No Ordering Off the Menu by Laura Collins-Hughes

John Patrick Shanley’s new play, starring Cecily Strong and David Zayas, is a romantic comedy with a penchant for the resolutely dismal.

Review: Seeking Purpose Among the Dead in ‘Spiritus/Virgil’s Dance’ by Laura Collins-Hughes

Dael Orlandersmith’s slender new solo play is a meditation on living that seems also like a curveball response to loss.

‘Bark of Millions’ Review: Taylor Mac’s Rock Opera at BAM by Laura Collins-Hughes

If Taylor Mac and Matt Ray’s four-hour rock opera were aiming to succeed on aural gorgeousness and visual spectacle alone, there would be no cause to quibble.

Review: In ‘Jonah,’ Starring Gabby Beans, Trust Nothing, and No One by Laura Collins-Hughes

Gabby Beans shines as a time-hopping protagonist tracing her trauma in Rachel Bonds’s slip-slidey new Off Broadway play.

Two Theater-Making Couples Reflect on Mortality and Renewal by Laura Collins-Hughes

A meditation on mortality and renewal, “The Following Evening” presents mirror images of two married pairs of theater makers.

‘Days of Wine and Roses’ Review: Romance on the Rocks by Laura Collins-Hughes

Kelli O’Hara and Brian d’Arcy James are superb as a midcentury-modern couple free-falling into addiction in Craig Lucas and Adam Guettel’s musical.

Review: In ‘Aristocrats,’ an Irish Dynasty Confronts Reality by Laura Collins-Hughes

A once-powerful clan gathers for a family wedding and muddles through the facts and fiction of their past and present.

Three Festival Shows Explore Toxic Society by Laura Collins-Hughes, Naveen Kumar and Juan A. Ramírez

“Queens of Sheba” and “Volcano” at Under the Radar, and “Bacon,” at International Fringe Encore Series, expound on identity, captivity and violence.

At UTR and Exponential, Four Soul-Enriching Experiments in Theater by Laura Collins-Hughes and Elisabeth Vincentelli

Buckle up for “Open Mic Night” and “Search Party” at Under the Radar and two wildly adventurous works at the Exponential Festival.

Julia Jordan Set Aside Playwriting to Win Gender Parity in Theater by Laura Collins-Hughes

After years of fighting to win parity and recognition for women in theater, Julia Jordan said: “Everybody gets produced now. There’s much more competition. In a good way.”

New Year, New Show: An Original ‘& Juliet’ Star Heads Home by Laura Collins-Hughes

Melanie La Barrie, who brought the role of Angélique from the West End to Broadway, flew back on New Year’s Eve with “Hadestown” on the horizon.

‘Real Women Have Curves’ and ‘Heart Sellers’: Snapshots of Immigrant Lives by Laura Collins-Hughes

A musical adaptation of “Curves” and a play about two Asian women becoming friends both look at immigrants’ experiences, with mixed results.

Review: ‘Madwomen of the West’ Is Comedy as Comfort Food by Laura Collins-Hughes

In Sandra Tsing Loh’s zany play, the stage is star-studded but familiarity alone can’t sustain this story about a group of old college friends.

Review: In ‘The Salvagers,’ a Battered Family Finds Strength by Laura Collins-Hughes

Harrison David Rivers’s new drama, featuring a strong cast, is having its world premiere at Yale Repertory Theater.