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Halley Feiffer stars opposite Hamish Linklater in her new comedy of anguish, which begins with a memorably chilling first date.
This uncanny, phantasmagorical work from the Lightning Rod Special troupe is a musical cabaret about abortion. That’s right.
As a born-to-lose presidential contender, Laurie Metcalf is exasperation incarnate in Lucas Hnath’s play, which also stars John Lithgow.
In this imbalanced revival of Lanford Wilson’s play, also starring Keri Russell, Mr. Driver unleashes the full, scorching power of his talent.
Ben Whishaw and Renée Fleming provide the oxygen in Anne Carson’s hypnotic and exasperating work, which imagines the actress as a Euripides heroine.
Daniel Fish’s wide-awake revival of an American classic gives us an “Oklahoma!” for our own age of anxiety, without ever betraying its source.
In Sam Gold’s haphazard production of Shakespeare’s bleakest tragedy, Ms. Jackson demonstrates her singular intelligence as an actress.
In Mara Nelson-Greenberg’s fitfully funny play, a female empathy coach faces the insuperable challenge of teaching men some compassion.
This three-hour-plus portrait of the creation and destruction of the house of Lehman, directed by Sam Mendes, is an endlessly absorbing epic tragedy.
This shrewdly assembled show, directed by Des McAnuff, considers the interchangeability of a crew of Motown’s finest, though there’s plenty of star shine, too.
In her enthralling study of interracial relationships, featuring a brilliant Daveed Diggs, Suzan-Lori Parks parses the lies we live by.
This meandering work of musical stand-up theater, from the TEAM and the National Theater of Scotland, probes the past and present of two nations.
In Christopher Hampton’s translation of Florian Zeller’s Freudian chamber play, Ms. Huppert confirms her reputation as the most fearless of actresses.
Joe Iconis and Joe Tracz’s cult sci-fi musical about high school paranoia arrives on Broadway with its wholesale klutziness intact.
In her priceless one-woman play, the writer and performer summons the pleasures and pain of being young, single and sexually compulsive.
Jeremy O. Harris, the author of “Slave Play,” has written another sexually and racially charged work, but one that ends up overwrought.
This directionless new musical, set in Lewis Carroll’s Wonderland and a London subway station, challenges its audience’s willingness to make believe.
West End productions of “Company” and “Caroline, or Change” have the heart and fire that sometimes felt missing in earlier incarnations.
Jackie Sibblies Drury’s sparkling new play, about the Jamaican-born nurse Mary Seacole, reinvents a dramatic trope as a dizzying hall of mirrors.
Revivals of work by Pinter and Miller — and a play about an Englishman roped into an Italian horror movie — ponder mortal anxiety in the age of Brexit.
This London adaptation of the Oscar-winning satire, starring a misused Gillian Anderson and Lily James, is like a horror movie without a pulse.
Cate Blanchett, Laura Linney and Katherine Parkinson are three heroines in search of elusive selves in plays by Martin Crimp, Rona Munro and Laura Wade.
Two productions at the Classic Stage Company channel the electric ambivalence of August Strindberg.
Stephen Belber’s time-traveling drama, starring Johanna Day, connects the dots of woman’s conflicted existence during six decades.
In this unsettling revival, directed by James Macdonald, two fine actors find the existential terror in Sam Shepard’s portrait of battling brothers.
Amy Staats’s tale of the rowdy rise (and fall and rise and fall) of the rock band lets women loose in the glam metal boys’ club.
Charly Evon Simpson’s quietly commanding play chronicles gynecological experimentation on American slave women in the antebellum South.
How her outsize presence — and that “Hello, Dolly!” cast album — helped entice a burgeoning theater critic to New York.
Sebastian Barry’s imbalanced new play, set in a Dublin prison, confirms its writer’s gift for finding the holiness in the everyday.
Visionary stylist or one-trick pony? With “Network” on Broadway and “All About Eve” on the horizon, the multimedia-mad stage director is ready for his close-up.
Offerings at the festival include a riff on “Uncle Vanya”; a “Frankenstein” adaptation highlighting a mother’s grief; and an intimate tale of displacement.