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The assignment: Head to Boston to see the touring stage show and the movie musical all in one day. The result: a purr, a yowl or both?
Talene Monahon’s show at 59E59 Theaters feels provocative but unfinished, a pieced quilt of overlapping textures and ideas.
Television is in love with musical shows, with “Zoey’s Extraordinary Playlist” and “Katy Keene” joining the growing chorus this winter. But they’re not easy to pull off.
E.S.P. Conjuring the dead. Speaking with them. Shows like “The Thin Place” and “Our Dear Dead Drug Lord” use the occult to put on a show.
Previews, openings and some last-chance picks.
After another smash hit year at the box office, the next 12 months promises more of the same ... with added controversy
The lights are bright on Broadway. Blinding even. With 35 plays and mu…
After a family tragedy, the Australian director found a home in the theater, creating harrowing updates of classics. His latest: “Medea” at the Brooklyn Academy of Music.
Now playing at the Museum of Jewish Heritage, the 19th-century operetta is a fairy tale confection you can feel right down to your kishkes.
Forget the finale. After the curtain call now comes the megamix, the last dance, the group hymn — whatever it takes to turn an entertainment into an event.
New York Theatre Workshop, New York
An adaptation of the 2016 comedy is charming and well-performed but so slight that it fades from the memory fast
I left Sing Street, the new musical from …
A 19th-century comedy from Dion Boucicault, at the Irish Repertory Theater, showcases some delicious characters in an imperfect vehicle.
Harry Hamlin and Stefanie Powers bring a measure of glamour to a patchy two-hander about three sibling pairs and one downed airplane.
The star of “Hadestown” shares what he watched, read and listened to last weekend.
At the new Cirque Mechanics show, the revolving ring, rotating ladders and spinning swings might not thrill, but the performers do.
An excursion into the Theater of Lists at St. Ann’s Warehouse proves to be both original and exasperating.
In its sixth year on Broadway, “The Illusionists” serves up familiar routines, but two smaller shows deliver egghead charm and brainy sleight-of-hand.
Broadhurst Theatre, New York
Oscar-winning screenwriter Diablo Cody has brought Alanis Morissette’s music to the stage with a contrived yet hugely entertaining show
When Alanis Morissette …
There were big musicals, thoughtful political statements and big star disappointments in a disordered year of theater
Broadway went to Paris this year. And to New Haven, north London, the Gu…
Shows that defied categorization offered a stark choice: Escape an angry world, or face up to its travails. Beyond Broadway, writers explored race, inequality and addiction.
The playwright left his home state 20 years ago. While rehearsing his new play, “Greater Clements,” he drove through the lonesome landscapes that still inspire his work.
Lyceum Theatre, New York
Jack Thorne’s Broadway transfer of the Christmas classic is sentimental but moving and boasts a host of surprises
Charles Dickens’s A Christmas Carol has always …
Joe Iconis’s new musical celebrates women’s prison flicks and girl group harmonies. But his teen rebels could use a cause.
“Fefu and Her Friends,” perhaps the finest work of the Cuban-American director and playwright María Irene Fornés, is finally getting a New York revival.
Daryl Roth Theatre, New York
A new take on the romantic comedy boasts music from the National and a stellar turn from Glee’s Blake Jenner but there are stumbles throughout
Before Peter Din…
Sure, there’s some awkward innuendo. But that doesn’t spoil the annual thrill of seeing a troupe so effortlessly diverse, international and adept.
Rebecca Gilman’s one-woman show stars Kathleen Chalfant as Mabel Loomis Todd, who burnished herself with Emily Dickinson’s celebrity.
Bad things happen to bad people in Lizzie Vieh’s comedy, set in Arizona, about a couple who break up, crack up and make up.
Christiane Jatahy’s surgical adaptation of “Three Sisters” takes the audience from stage to screen.
As the self-involved, self-lacerating womanizer in the play “Linda Vista,” Ian Barford aims to offer the audience just enough reasons not to give up on him.