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Shows that defied categorization offered a stark choice: Escape an angry world, or face up to its travails. Beyond Broadway, writers explored race, inequality and addiction.
Inua Ellams discusses his surprise hit play, which has its New York premiere at the Next Wave Festival this week.
Alan Lightman’s novel loses its charm in Joanne Sydney Lessner and Joshua Rosenblum’s show, which lacks a sense of a sure artistic voice.
A critic who once resisted the charms of this holiday clownfest found herself floating on happiness this time around.
This meandering jazz-infused drama, told across generations of a black family, strains to pull its focus from white women.
The return of Tony Kushner’s “A Bright Room Called Day” prompted us to ask leading writers: How did it go for you? And what did you learn?
The Next Wave festival’s latest digital dive: A tale of grief staged in a Brooklyn cafe that the audience only pieces together by smartphone.
Anthony Black’s play is about the life-sustaining power of creating art. But it never overcomes the dull short story from which it’s adapted.
In this Irish production, an 11-year-old actor plays the child who died too soon to get to know his immortal father.
Jazz unites two brothers, one accused of plotting terrorism, in Idris Goodwin’s play.
A bracingly lucid Corey Stoll embodies Shakespeare’s thane who, step by step, cedes his soul to his own darkest impulses.
Sylvia Khoury’s insidiously sharp new play arrives as the eight-year-old conflict is making fresh headlines in the United States.
In Sean Daniels’s grim autobiographical comedy, a charming stage director tries, and tries again, to sober up.
George Bernard Shaw gets sensitively streamlined in a briskly entertaining production with winning performers at its center.
Kate Hamill and Andrus Nichols made their names in a theater company specializing in scaled-down classics. Now they’re forming their own troupe.
An easily legible production of the ancient Greek tragedy borrows from the tradition of Noh theater at the Park Avenue Armory.
John Glover lifts Michael Tucker’s otherwise convoluted and crowded dramedy of baby boomers contemplating life on a commune.
By definition, live theater vanishes in the moment; Ms. Corwin pushed to have shows videotaped and deposited in a library collection, which she ran for decades.
A French stage adaptation of the John Cassavetes film misses the #MeToo moment.
Ntozake Shange’s play, with its unflinching depiction of black women’s experience, is coming back to the Public Theater more than 40 years after opening there.
The Flea Theater has revived this brief play, in which a flat tire is the least of the problems you might encounter in Central Park.
Was it a one-time telephone interruption, or was it written into the show? And why was it so crucial to find out?
A frenzy of strained joke-making and audience participation overwhelms a promising exploration of romance in the internet age.
The screen and stage star is making his Broadway debut as the bottled-up husband wearing a “mask of control” in Harold Pinter’s romantic triangle.
In a tender pair of monologues, Tom Sturridge and Jake Gyllenhaal portray young fathers shaken out of complacency.
With plays and musicals folding left and right, Broadway stars impart wisdom they gained when it happened to them.
In Domenica Feraud’s potent drama, hard-driving parents don’t recognize the examples they set for a daughter with anorexia.
This new “comedy musical” is lesser material than she deserves, but Ms. Rudner delivers an innocuously pleasant evening.
Bereavement and self-destruction stalk the plays in Series A of this year’s Summer Shorts Festival in New York.
The New York Music Festival production tells the story of the summer when Emmett Till was murdered.
Isaac Gomez’s one-woman play follows the trail violence in a city on the Mexican border.