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Still, there are plenty of joys to be had from this Pultizer Prize winner by Quiara Alegría Hudes, of "In the Heights" fame.
Artistic directors finally make long-delayed directing debuts, and musicians make their musical theater debuts.
American Conservatory Theater's production of María Irene Fornés' "Fefu and Her Friends" shines a light on a playwright never given her just due.
In Paul Gordon's musical adaptation of Jane Austen's "Sense and Sensibility," the contrast between the Dashwood sisters takes on new resonance.
The Tony Award-winning musical by Stew and Heidi Rodewald offers nothing less than a vision of what it is to be human.
American Conservatory Theater, Magic Theatre, TheatreWorks and Oregon Shakespeare Festival have all paused internship programs.
Dan Hoyle's show at the Marsh suggests there might not be that much drama, variety or depth within liberal, white, affluent male guilt.
Audiences to this sound-driven show from the Dutch collective Urland might find themselves transported back to childhood.
San Francisco artist Patricia Diart got the idea for "The Cape" after seeing the video of Derek Chauvin kneeling on George Floyd's neck in 2020.
National Theatre Productions is "unable to say with confidence when the show can arrive in the Bay Area."
The season concludes with "Tina: The Tina Turner Musical," a jukebox musical recounting the icon's hard-won victories.
The inventive 10-year-old company is ever worthy of attention, even when individual shows don't quite hit the mark.
Stone-melting, fire-spewing, bone-crunching special effects pack more power in a one-part "Harry Potter and the Cursed Child."
Ushers, house managers and security staff are in the crosshairs of audience members' diametrically opposed preferences.
Schirle was an accordionist, a ballerina, a mask artist, a playwright, an actor and a scholar.
Antoinette Chinonye Nwandu's play, part of a wave of works by Black writers on Broadway last year, is penetrating in insight.
Fitz is less a character who's lived a life before the play starts than a concept a playwright might pluck out of the ether.
Raphael Massie of Oregon Shakespeare Festival succeeds the not-quite-retiring Robert Currier at the San Rafael company.
Rhetoric is both air raid siren and war cry in Will Arbery's Pulitzer Prize finalist.
"It is strange to have it all swept away — all at once, and slowly," said Allison Page, executive artistic director of sketch comedy company Killing My Lobster.
"Battles in scarcity economies become incredibly ugly for what seem to outsiders like very small stakes," Tony Kushner said.
These trans-positive projects transcend a time-honored question: whether it's possible to separate art from a problematic artist.
The idea for the show sprang in part from co-creator Othello Jefferson's ritual of reading Black poetry to his two daughters.
The Avett Brothers musical asks: When a whaling voyage goes horribly awry, how far would you go to stay alive?
Blasphemously talented singers, beatboxers and rappers cook up, on the fly, a miniature hip-hop opera about your day.
Meñez is the final piece of Z Space's new distributive leadership model.
"There can be the stress of whether you match up, whether you’re quote-unquote ‘as good,’" Nic A. Sommerfeld said.
Actors at TheatreWorks, Bay Area Children's Theatre, Berkeley Rep and more share the thrills and chills of filling in last-minute.
The quiet assurance of the Tony-winning show at BroadwaySF's Golden Gate Theatre almost makes other musicals look insecure.
For a city of fewer than 125,000 residents, Berkeley has an outsize reputation as an arts destination in part because of Medak.
"I love what happens when you have an audience meeting artists halfway," Berkeley Rep's Susie Medak said.