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Ping Chong creates a deceptively warm multimedia production about a very cold place.
Two productions that draw on the Bard: an “As You Like It” with echoes of the refugee crisis and a goofy musical based on “Measure for Measure.” In this case, fun wins.
David Greenspan has been rehearsing his solo take on the epic “Strange Interlude” for four years. Now it’s show time.
This adaptation of Anthony Burgess’s word-drunk fantasy is notable less for its violent themes than for its often-shirtless cast.
“Beckett in the City: The Women Speak” powerfully articulates a theme of powerlessness in four short plays staged at a secret location near the Irish Arts Center.
Five plays that transported the drama and comedy of the game from the court to the theater.
Getting in character for “The Last Match,” the cast gets a tennis lesson from a former pro before taking the stage.
Loosely inspired by a true story, Dan McCormick’s play “The Violin” follows a lost Stradivarius that falls into greedy hands.
Set in a real home, an unnamed woman cooks while she relates piercing tales about the horrors in Syria.
The New Yiddish Rep production revisits Ionesco’s absurdist story about ordinary people seduced by fascist overtures.
The actress is back to starring as an Edwardian matriarch in “Time and the Conways,” which begins performances on Sept. 14 in New York.
This free production from Public Works includes more than 200 amateur performers and looks as diverse, busy and vital as New York City itself.
As Denzel Washington reveals a return to the stage, which actors are less likely to make a comeback after poor reviews and an underwhelming box office?Earlier this week, producers announced …
Theater has quickly taken on the Trump presidency. Whether what’s onstage can change minds or spark action is open to debate.
With “Cymbeline,” the troupe’s founder has now directed the canon.
This play toggles between a seaside family in crisis and a 10-year-old girl’s dreams of a nautical adventure with her grandfather.
“To the End of the Land” and “Yitzhak Rabin: Chronicle of an Assassination,” staged at the Lincoln Center Festival, underscore the elusiveness of concord.
Lauren Gunderson’s “The Book of Will,” making part of its rolling world premiere, finds drama in family relationships and Renaissance publishing.
The foursome of “A Midsummer Night’s Dream” talk trust, lust and the art of stage kissing.
Tedious or contentious, the post-show discussion has become part of the theater landscape. Given a choice, would other writers issue a gag order?
The new podcast “36 Questions” sets a standard for the future of musical theater.
It’s almost always a good time to resurrect Willy Loman, Arthur Miller’s desperate Everyman, but Theater Mitu’s staging at BAM Fisher saps the play’s power.
Anspacher theater, New YorkDirector Sam Gold finds more theatric bullion with his topsy turvy version of Hamlet that refuses to be hemmed in by tradition or – at times – sartorial tasteA…
Mr. Isaac’s film career is thriving. But this summer, he is starring as Shakespeare’s tortured prince.
This cabaret at the Triad offers broad sendups of President Trump for the two-drink-minimum crowd, but it’s hard to be farcical when real life is so bizarre.
In Lauren Yee’s play, the disappearance of a child short-circuits language and takes over reality itself. But it can be survived.
“Will,” which features the playwright in his formative years, is heavy on the tattoos and piercings.
This Sheila Callaghan play, intermittently immersive, struggles under the weight of its ambitions.
This Torben Betts play, a comedy set in northern England, skewers working class narrow-mindedness and liberal condescension.
Annie Baker and Heidi Schreck wrote an episode of Amazon’s “I Love Dick” that our critic calls the best 20 minutes of television she has seen in years.
New York City Center Stage IICan an affair between a middle-aged woman and an older man be explored through science? Simon Stephens springs some surprises, though his play is not entirely cr…