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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.
Set in the 1930s, this musical comedy about a young man striving for stardom lands most of its jokes in song.
On the dread, and the glory, of watching animals onstage.
Erica Schmidt’s raucously exuberant adaptation finds common cause between rebellious teenagers and bloody-minded Shakespeare.
Things are tense and tingly enough before the curtain rises at any time of the year. What’s it like during prize season?
Fifty years into his stage career, André De Shields cherishes the ability to change what is to come.
Romeo Castellucci’s Tocqueville-inspired spectacle, presented by Peak Performances, offers highbrow style without the substance to back it up.
The play, a sort-of autobiographical story about an author and an inmate, includes a post-show “community conversation” about incarceration.
Stephen Unwin’s play, set in Germany in 1941, explores the reluctant evil perpetrated by people who think of themselves as good.
Michael Stuhlbarg is sublime in the title role of Tim Blake Nelson’s admiring but overlong play, presented as part of the Onassis Festival.
The perspectives of women are welcome in an art form that inherently fosters empathy — and in which it matters greatly whom we’re asked to feel for.