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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.
The “Oslo” playwright J.T. Rogers found himself moved stitching a story he thought he knew well: “It is a piece about hope and wonder.”
This play by Zayd Dohrn, about a victim of a horrific crime who grows up to be a dollmaker, is a dark comedy — with a touch of horror.
The City Center revival of this satire on the haves and have-nots features book and lyrics by María Irene Fornés and a score by Al Carmines.
Aedín Moloney and Colum McCann lift the character from James Joyce’s novel to create a celebration of womanhood for the stage.
Faith has had a powerful role in shaping some recent dramas. But plays can bring spiritual solace to the nonbeliever, too.
His world tour “The Man. The Music. The Show.” stopped at Madison Square Garden. But it would have been better on Broadway.
To make the actors comfortable, the director of “Frankie and Johnny” brought in an expert in staging sex scenes — Broadway’s first, and certainly not its last.
A forgotten 1948 drama by Micheál Mac Liammóir has been polished to a becoming shimmer at Theater Row.
Hollywood filmmakers tell a period story set in China in Gordon Dahlquist’s layered look at truth, lies and the power of narrative.
Based on an anecdote from the set of an infamous commercial, the play focuses on the behind-the-scenes people who work to realize an artist’s vision.
Bekah Brunstetter’s civic-minded new play is about parenthood, paternalism and what it means to work for the people.
The stage adaptation of Louisa May Alcott’s novel places the ambitious, thwarted Jo March at its center.