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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.
Theresa Rebeck wrote her chilling new domestic thriller with the brother and sister in mind.
The writer of “Eve’s Song” looks back (at an awkward childhood) and ahead (at her inspirations) while scrolling through her Instagram feed.
Lloyd Suh’s rich play follows an immigrant and her translator over decades.
In Lauren Gunderson’s issue play, Pascale Armand plays an insurance agent in a risky scenario.
The highly physical Irish actor Aaron Monaghan came late to Beckett, and is young to portray Estragon. But the role fits (even if the shoes don’t).
The novelist’s first play, “Happy Birthday, Wanda June,” is proving its resonance — and some nights, too much so — in a timely new revival.
Ming Peiffer’s new play shares the same youthful female-centric world of Sarah DeLappe’s soccer play, “The Wolves.”
Theater artists who carry on the tradition of “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf” honor their inspiration.
Ms. Shange’s play featured seven black female characters named for the colors of the rainbow and inspired generations of playwrights.
Adam Gwon’s chamber musical about four New Yorkers is being revived Off Broadway in a production by Keen Company.
A white liberal historian and a frustrated African-American student make a combustible combination in Eleanor Burgess’s play.
It’s 1963 again, and this chamber musical packs all the heartbreak and bliss of love in a Village gay bar of the era.
The heroine’s impossible position could hardly be more sympathetic or central than in this Pushkin Theater Moscow/Cheek by Jowl staging.
It took persuading, but Jez Butterworth wrote his new play for his partner, Laura Donnelly, both to honor her history and give her a great part.
Three eras, three plays drawn from real life. But the same old double standard.
Bess Wohl’s new play is a regret-tinged examination of sibling connections that maybe, back in those formative years, were not forged solidly enough.
This experimental docudrama at La MaMa charts the history of the National Endowment for the Arts and argues for its continued importance.