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The movie, written and directed by Charlie Levi, follows a group of Angelenos dealing with problems, among them the death of a child.
Nate Rufus Edelman’s drama captures a community questioning faith and politics in Northern Ireland in 1985.
August Schulenberg’s new play, at the Loisaida Center, considers life in a postapocalyptic Manhattan.
“Jules Verne: From the Earth to the Moon” is a multimedia celebration of aspiration based on Verne’s true-life encounter with the journalist and feminist.
Bearing shadows truer to Carlo Collodi’s 19th-century tale, this family-friendly show manifests robust energy, visual flair and an aversion to modern-day phoniness.
This revival of George H. Broadhurst’s 1906 political drama, inspired by Tammany Hall cronyism, is at the Metropolitan Playhouse.
There is roiling tumult amid the shadows in Damon Chua’s play “Film Chinois,” an exercise in noir styling and political intrigue.
Writers and editors for The New York Times list memorable moments onstage this year.
Mac Rogers’s “Asymmetric,” at the 59E59 Theaters, is an espionage thriller in which a retired C.I.A. interrogator is called on to question his own ex-wife.
“Powerhouse,” on the life of the composer Raymond Scott, sustains the controlled mad dash of the Warner Bros. Looney Tunes cartoons that used his music.
A clown, contortionists, jugglers and one sheepadoodle are among the attractions in “Metamorphosis,” the latest edition of the Big Apple Circus.
“Lennon: Through a Glass Onion” at the Union Square Theater looks at the life of the former Beatle.
Walter Anderson’s first play, “Almost Home,” returns to 1965 and to the dreams and nightmares of the Vietnam War era.
“Boys and Girls,” Dylan Coburn Gray’s play at 59E59, follows four young hot-blooded people through a boozy night in Dublin.
In “The Last Days of Cleopatra,” a matriarch’s death serves as an opening for a family to face all kinds of personal issues.
An early and bloody Shakespearean tragedy is reinterpreted for laughs in “Puppet Titus Andronicus,” at the Beckett Theater.
“King Kirby” traces the creative and business ups and down of a great comic book artist, Jack Kirby.
In “Deepest Man,” a play by James Scruggs, a man whose wife drowns confronts his traumas by submerging them.
Ayn Rand’s pedantic novella “Anthem” gets a goofy, spoofy and exuberant musical adaptation at the Culture Project.
In “The Exercise Was Beneficial, Sir,” Nicolas Bouchaud played the French critic and editor Serge Daney, who died in 1992.
“Swing & Beowulf,” paired one-acts at the Irish Arts Center, both come from the Dublin Fringe Festival, but that’s all they have in common.
“Sir Patient Fancy” is the Queen’s Company ensemble’s take on a 17th-century play by Aphra Behn.
In the one-man show “Satchmo at the Waldorf,” John Douglas Thompson vividly resurrects Louis Armstrong as he reminisces about a life that spanned a vast cultural divide.  …
“50 Shades! The Musical — The Original Parody” at the Elektra Theater adds R-rated lyrics to E. L. James’s best-selling novel about bondage, but it keeps the nudity PG. &n…
After a stint in prison, Bill is readjusting to freedom in Oklahoma in Emily Schwend’s “Take Me Back,” playing at Walkerspace.
A revival of Paddy Chayefsky’s “Middle of the Night” tells the tale of a May-December affair.
“Til Divorce Do Us Part,” a not-so-bitter pill with lyrics by Ruthe Ponturo, is at DR2 Theater.
In “Riding the Midnight Express With Billy Hayes,” Mr. Hayes recounts his prison ordeal in Turkey, and how it differed from the Oliver Stone screenplay for the movie. &n…
“Thank You for Being a Friend,” directed by Nick Brennan, is a raunchy and overwrought drag parody of “The Golden Girls.”
“BigMouth,” from the Belgian actor-writer-director Valentijn Dhaenens, jostles together the words of speechmakers throughout history.
Two solo shows, “Hip” and “Darkling,” have their author-stars embodying many characters at the IRT Theater in the West Village.