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Irish Repertory Theater’s ambitious virtual rendition of the O’Neill drama finds a family trapped by a father’s grandiose illusions.
Grooming a naïve maiden to be an obedient bride is bound to fail, or at least be sorely tested, when Molière spins the love story.
Performers share fragmented reveries in “Electric Feeling Maybe,” while “Voyeur” brings a touch of Paris to the West Village.
Airships float by, avatars sing and the audience is the jury in this visually enticing but overstuffed steampunk experiment.
A look back at the band’s 15-year-old debut, “A Fever You Can’t Sweat Out,” a commercial success that simultaneously satirized and celebrated staged spectacles.
This comic short about an actor and his kids staging Greek tragedies under lockdown slyly comments on links between the politics of the family and the state.
In this brief but eerie installation, one viewer and one performer, separated by glass, share the feeling of being trapped underwater.
A naïve young woman struggles with the pitfalls of intimacy in the digital age, on and off the battlefield of a multiplayer online game.
The second grouping of these excellent “Here We Are” monologues includes a raucous report from outer space and a small gem from Lynn Nottage.
Six months dark. Thousands of artists out of work. Could this disaster have a surprise ending? Five critics on what must change, onstage and off.
It was a flop, but the film adaptation of the Broadway smash turned me on to theater. And those starving artists made me want to make art too.
Theater in Quarantine’s latest small-scale, digitally savvy production is an adaptation of a Borges story about a man stopping time to stare down death.
Replete with music, masks and vibrant costumes, “Quince” and “Beast Visit” turn urban green spaces into stages for festivity.
Staying creative in lockdown means setting the scene for a cat, a baby and a garden. Plus an Instagram account that makes Mom and Dad into art stars.
Two critics square off to determine how well this body slam of a comedy, about stereotypes and storytelling, made it to the very small screen.
A Seeing Place Theater production and a Play-PerView reunion reading by the 2007 Cherry Lane Theater cast bring out different aspects of Amiri Baraka’s famous play.
Source Material presents a postmodern approach to talking about grief and isolation in quarantine.
Electric performances, led by André Holland, transcend didacticism in an audio rendition that replaced a Shakespeare in the Park production.
Efforts like ‘The Oedipus Project’ are worthy, but in an attempt to draw contemporary parallels, they can misread drama and mislead about the present.
Animated shows are finally moving away from letting white actors play characters of color. But even well-intentioned efforts at increasing diversity create complications.
Our critics discuss the last four months, which thanks to Zoom (and Meryl Streep) have been full of experimentation and playfulness.
Anchored by a charismatically off-kilter performance, this one-woman show asks viewers to judge a young Russian accused of a crime of passion.
From the documentary works of Anna Deavere Smith to brief monologues written in this moment of unrest, dramatists are sounding an alarm.
Despite charming performances, a Culture Project production works too hard bringing a delicate novella to the stage.
A solo stage adaptation of Paul Muldoon’s poem considers whether making art can offer solace in the wake of grief.
The neighborhood is referrred to constantly, insistently, but doesn’t come to life in Pearl Cleage’s play about a nightclub singer from the 1930s.
Donnetta Lavinia Grays is winningly uninhibited in her fable-like solo show about a community seduced by a mysterious benefactor.
Edward Einhorn’s playful play takes on a lot: his scientist grandfather, his aging mother and his own doubts about putting their lives onstage.
Eric Tucker updates the allegorical play about the Salem witch trials, directly implicating the audience in its examination of mass hysteria.
An immersive play crossed with an art installation offers sharp angles on race and white supremacy, but is dampened by didactism.
Tawni O’Dell set herself a bracing challenge: Writing and reliving her family’s trauma onstage. But it’s more than the novelist can pull off.