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Straddling the 17th and early 21st centuries, Mary Kathryn Nagle’s play at the Public Theater examines the exploitation of the Lenape by Dutch settlers.
This captivating adaptation of J.M. Coetzee’s novel, a collaboration with Handspring Puppet Company, follows a man and his ailing mother during a civil war in South Africa.
Roundabout Theatre Company, Second Stage and Lincoln Center Theater will experience significant leadership changes by 2025.
Lameece Issaq’s “A Good Day to Me Not to You” strives for intimacy, but that is not necessarily the aim of works by Alexandra Tatarsky, Milo Cramer and Ikechukwu Ufomadu.
Becca Blackwell and Amanda Duarte’s amorphous variety show aims to be a queer spectacle but is mostly improv strung together with non sequiturs.
Qui Nguyen’s crowd-tickling comedy about a Vietnamese family in Arkansas mixes hip-hop and martial arts with soapy twists and turns.
Each performance culminates in a production, composed on the spot, with misguided help from artificial intelligence.
More productions are shaking up their schedules in response to shifting audience habits.
A family in exile contends with its future, and its ghosts, in Nathan Alan Davis’s new Off Broadway play starring Nicole Ari Parker.
The first Broadway revival of Stephen Sondheim and George Furth’s notorious bomb explodes with heart and sophistication.
Eliana Pipes’s new play is too pat to convincingly explore the societal imbalances resulting from race, class and gender.
In Abhishek Majumdar’s tense play at 122CC Theater in Manhattan, every sound underscores what’s left unsaid after a shellshocked veteran’s homecoming.
Producers Sue Frost and Aaron Glick, playwright Douglas Lyons and more predict possible benefits and challenges caused by the ripple from America’s theaters.
Transferring from London’s West End, the comedy relies on nostalgia and fandom.
Rhea Perlman stars as a quintessential Upper West Sider in Zarina Shea’s snapshot of affluent, self-flagellating motherhood
The writer Candrice Jones and the director Lileana Blain-Cruz show a mastery of the game in this play about a girls’ basketball team in rural Arkansas.
Congestion, dangerous driving, price-gouging and more are a growing problem.
A meet-cute on an Italian excursion sends a mother and daughter on parallel journeys of self-discovery in an Encores! staging of the 2005 musical.
Eschewing a conventional narrative, Jillian Walker’s soulful show seeks to heal deep wounds through ritual and celebratory singalongs.
Three sound designers weigh in on how to determine excellence in their field.
In 1980s Manhattan, two medical students find themselves at the forefront of the AIDS crisis in David J. Glass’s new play at New York City Center.
“This Land Was Made,” at the Vineyard Theater, is rooted in the playwright’s personal connection to a political movement’s awakening.
In Eboni Booth’s new play, William Jackson Harper performs with astonishing vulnerability as a man alone and adrift.
In this play by Guadalís Del Carmen, a couple’s shared heritage is integral to their meeting and the ups and downs of their daily relationship.
In the play, at the Public Theater, a mother and daughter endure the devastation of Hurricane Katrina inside the bar that connects them to their pasts.
Wesley Du explores complex intersections of identity in a coming-of-age story about a Chinese American boy who finds escape in Black music.
Three women seeking companionship turn to an Alexa-like digital presence in this family drama at Ensemble Studio Theater.
The play, directed by Caitlin Sullivan at the Connelly Theater, focuses on two girls in the year leading up to the action depicted in “The Crucible.”
At the Shed, Arinzé Kene mixes spoken word, music and comedy to tell a story of racial tension and male identity in a changing London.
The playwright Emily Feldman structures this work like a personal GPS that plots the course of a family.
Stale views of gender dynamics power Eric Bogosian’s play about an aspiring actress caught in the clutches of a duplicitous man.