Maximalism Is Back at the Tonys
Our chief theater critic, Helen Shaw, shares her highlights of the Tony Awards on Sunday in New York City.
Our chief theater critic, Helen Shaw, shares her highlights of the Tony Awards on Sunday in New York City.
Qween Jean won for “Cats: The Jellicle Ball,” becoming the first openly transgender person to win a Tony Award, according to a “Cats” publicist.
Morgan Bassichis, whose solo show “Can I Be Frank?” resurrects an act by Frank Maya, joins others this season who are recreating the works of deceased artists.
While the 1999 movie went for melodrama, this stage adaptation with songs by Aimee Mann honors the memoir’s coolly clinical prose.
John J. Caswell’s triangular romance set in the early 1990s speaks to us from the smoking psychic caldera left by AIDS.
Jean Genet’s psychosexual drama gets a social-media-heavy update. But what does it say beyond “internet=bad”?
This newly discovered play by Wilder is part picaresque, part fable, featuring a Midwestern boy who dreams of working at a department store in the big city.
Eliya Smith’s disturbing teen dramedy explores the ambivalence and confusion of life on the brink of adulthood.
Our chief theater critic looks at this year’s nominees and makes some predictions (and recommendations).
Here are some of the brilliant moments our writers can’t shake from this year’s batch of Tony-nominated productions.
Shakespeare’s brooding prince comes off as bored at the Brooklyn Academy of Music. But Bedlam’s lean production of “Othello” is positively thrilling.
Lea Michele, Adrien Brody and other boldface names were left out, while June Squibb, André De Shields and Layton Williams as an iceberg were among the surprises.
Wilson’s 2024 adaptation of Herman Melville’s classic, with music by the British singer-songwriter Anna Calvi, has a short run at the Brooklyn Academy of Music.
A Broadway musical adaptation of the 1987 movie gets a lot of mileage from ’80s rocker aesthetics and over-the-top spectacle — until its second half.
This revival starring Cedric the Entertainer and Taraji P. Henson may be uneven at times, but it still unlocks Wilson’s mysterious drama.
Sam Pinkleton’s new revival at Studio 54 gives us the big gay mayhem we want while also maintaining some order via Rachel Dratch’s droll Narrator.
David Lindsay-Abaire’s comedy about a wealthy homeowners association thrown into disarray makes a case for the same social compact it skewers.
The actress stars as a haunted genius opposite Don Cheadle as her father in David Auburn's 2001 drama. This revival, though, exposes the play's lack of rigor.
Adrien Brody and Tessa Thompson make confident Broadway debuts, but the uneven script makes for a narratively slippery prison drama.
Arthur Miller's classic tragedy returns to Broadway, starring Nathan Lane and Laurie Metcalf. Yet again, it is a triumph.
For their 10th life, the cats strut and duckwalk in a reappraisal of Andrew Lloyd Webber's 1981 musical, which has shifted to the queer ballroom scene.
The directors Michael DeFilippis, Dmitry Krymov and Aleksandr Molochnikov all infuse their current productions with a burning, modern rage.
In Mark Rosenblatt's play, a powerful portrayal of the beloved children's book author who almost gleefully exposes his bigotry.
Antigone, an ancient Greek play, is being adapted in several theaters across New York City. Our critic Helen Shaw explains why Sophocles's anti-heroine is such a relevant figure today.
"Antigone" gave us the original "bad girl," but its themes go beyond that. How do adaptations keep making Sophocles' ideas about democracy and theater new?
Two monologue revivals " Jesse Tyler Ferguson as Truman Capote and Wallace Shawn's solo " reveal how wealth warps our perceptions. Only one pays dividends.
Encores! revisits a Jazz Age tale of debauchery, with showstoppers from Jasmine Amy Rogers, Adrienne Warren, Jordan Donica, Tonya Pinkins and others.
The actor's fondness for the audience radiates outward in this delightful interactive play about naming and noticing the good in the world.
Anna Ziegler's feminist take on Sophocles tries to tie in reproductive politics, but the play keeps trampling over its own ideas.
The Times's new chief theater critic is taking up the mantle as the industry moves over rocky ground.
The playwright and his collaborator André Gregory are together again, delivering a sumptuous set of interlinked monologues about life, death and betrayal.
In the stage versions of two beloved books, the most impressive moments emerge when the productions stray from the source material.
Clare Barron's gorgeous play, about an unmoored young woman returning home to care for her father, finds a new home at Cherry Lane Theater.
Without the usual flood of new musicals, the playwrights of works like "Becky Shaw," "Dog Day Afternoon" and "Giant" are getting a chance to shine.
Theater for a New Audience's reimagining of the Shakespearean tragedy misses an opportunity to engage the play's many echoes with our own tense era.
Milo Rau's examination of the infamous broadcast that preceded the Rwandan genocide is onstage now. Two other works, including "The Pelicot Trial," arrive in March.
The chameleonic actor takes on several characters in David Cale's solo play about a writer in pursuit of his stalker. Or is it all in his mind?
In Alexander Zeldin's naturalistic adaptation of "Antigone," Tobias Menzies and Emma D'Arcy star as a feuding uncle and niece.
Ten actors wear the crowns in Karin Coonrod's production, which is rich with twilight revelation, at La MaMa in Manhattan.
Libby Howes was an imposing presence onstage with the Wooster Group. But after abruptly leaving New York in 1981 she became a theater world mystery. What happened?
"Watch Me Walk," "Ulysses" and other offerings from Under the Radar and the Exponential Festival engage with personal histories and the works of literary lions.
Erica Schmidt's discordant comedy, starring Hamish Linklater and Miriam Silverman, is a farce clumsily straddling two genres.
Also: "Tartuffe" mania, the guitar stylings of William Tyler and Yasmin Williams, Justin Chang's movies for a new year, and more.
Also: Graciela Iturbide's tranquil photographs of Mexico, Hugh Jackman and Kate Hudson in "Song Sung Blue," the coke-rap of Clipse, and more.
It's been the year of Molière, and therefore the year of the liar, the hypocrite, the poseur, the clown.
Helen Shaw reviews "Marjorie Prime," with June Squibb, Cynthia Nixon, and Danny Burstein,
It was a banner year for generation-defining performance, both up- and downtown.
Also: Alvin Ailey's annual City Center residency, the D.I.Y. virtuoso Jay Som, Alexandra Schwartz's Shakespeare-movie picks, and more.
The playwright offered a kind of on-ramp to the literary canon, a way into a life of unabashed, unstoppable thinking.