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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.
Sure, less paper makes environmental sense. But relying on digital programs betrays what makes the in-the-moment experience of theater so special.
In a smart if sometimes shaggy monologue that ponders a divided nation, Mr. Quinn worries about more than the occupant of the White House.
Performers revisit their own fraught memories in recent productions, including one inspired by women who have accused the president of misconduct.
The bloody story of Procne and Philomela is retold as a tale of sisterly devotion in this indie-rock opera by the Kilbanes at BRIC House in Brooklyn.
This stunning Under the Radar festival show tells the story of Valerie Solanas, the feminist agitator who shot Andy Warhol.
At Bushwick Starr, Diana Oh and her team of “super queero heart questers” welcome guests to a night of dance-filled revelry. (Yes, there’s a sleepover option.)
Of the three jukebox bio-musicals about female pop stars now on Broadway, it’s the latest that best understands its audience.
This clever, messy comedy opens with a charming pair of singing elves, yet it’s an ill-advised choice for Santa believers.
This multimedia adaptation for the era of TED Talks and smartphones is visually and aurally striking, but it lacks the spookiness of the original novella.
In Krista Knight’s muddled dramedy, an abusive husband and his fearful wife are joined by a mythological sea creature.
A new musical illuminates the obscure history of American women who were recruited to the Signal Corps in Europe. It’s rather thrilling, until Act 2.
Classical Theater of Harlem reimagines the Charles Dickens tale with the holiday curmudgeon as a real estate predator in need of reclamation.
Sara Fellini’s play follows John Wilkes Booth, months before he kills President Lincoln, while he spars with his brothers on and off stage.