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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.
In this comedy by Will Arbery, three sisters slip-slide through time in a brightly heightened reality.
This charming new piece of site-specific theater from the company Third Rail Projects is staged on the steps of the Winter Garden at Brookfield Place.
The latest Mabou Mines production is a strikingly designed but ultimately bloodless take on the weird second part of Goethe’s classic.
A work of historical fiction inspired by the real-life discovery of a tunnel dug during the Holocaust.
Quincy Tyler Bernstine, now starring in “Marys Seacole,” is drawn to the toughest, brainiest roles. And playwrights are drawn to her to pull them off.
A low-key spotter of high-wattage talent, Jason Eagan has made Ars Nova the launchpad for creative types merging uptown and downtown sensibilities.
The decision to give up a baby years ago resurfaces for a couple in Sofia Alvarez’s play at Theaterlab.
A drama set in a college classroom during a campus shooting, “Good Friday,” at the Flea Theater, is meant to unsettle and provoke.
Kristine Haruna Lee’s gorgeously complex play is made up of sharp vignettes that open up to explore Japanese-American identity.
A dissection of an episode of “The X-Files” is the jumping-off point for an exploration of a fragile and tortured identity.
This gleefully but fatally overloaded play riffs on sci-fi, time-travel and airplane-disaster movies, while sending up our screen-obsessed culture.
The scientist in Edward Einhorn’s uneven romantic dramedy wants to find solid proof of his girlfriend’s devotion. Which is his first problem.
“When Angels Fall,” at Peak Performances, and “Non Solus,” at the Brooklyn Academy of Music, blend circus with dance in feats of perfect equilibrium.
Two shows enlist their spectators as witnesses, exhorting the Americans in the room to consider what our nation is doing in our name.
In a new revival, Henry VIII lacks grandeur and Cromwell cunning. Without worthy adversaries, Sir Thomas More’s dilemma never delivers the drama.