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Works from the Belarus Free Theater and the Freedom Theater explore the drama of confronting authority.
Heather Christian communes with — and possibly exorcises — the spirits of the dead in a truly one-of-a-kind performance piece
An astonishing Lars Eidinger is a hunchback to remember in Thomas Ostermeier’s Halloween treat of a production at the Brooklyn Academy of Music.
The experimental theater troupe’s rendition of “Measure for Measure” is frenzied but not especially insightful.
A definitive revival of the musical “Merrily We Roll Along” and a new play about Andy Warhol and Truman Capote dissect the discontents of celebrity.
Titans of literature and politics are asked to look deep into their souls and admit their bad faith in Scott Carter’s careful debate of a play.
Max Posner’s tender yet unforgiving new play considers a son’s inability to love a mother who has dementia.
In this production from Chicago, starring Michael Shannon, goofball farce and existential despair are by no means incompatible.
Karin Coonrod’s inventive production of Shakespeare’s notorious comedy has five actors playing the moneylender. It sounds gimmicky but it works.
A new immersive musical set in a Korean hit factory moves to the beats of satire, soap opera and everything in between.
“Mary Jane” is a portrait of a mother’s relationship with her chronically ill young son. Carrie Coon of “The Leftovers” stars.
The play, about a single mother with five children, explores the dimensions of American sexual and societal guilt in a first-rate revival.
Simon Stephens’s play explores the dreams and disappointments in one working-class family.
Suzan-Lori Parks’s Brechtian riff on Nathaniel Hawthorne’s “The Scarlet Letter” returns to the stage with a new vitality.
His versatility as a composer of musicals was matched by his emotional ardor and political shrewdness.
A new play about Papp, the founder of the Public Theater, sets the tone for a season of audacious interpretations of the Shakespeare canon.
Nick Robideau’s sly new comedy at the Flea considers the pain and pleasures of objectophilia in small-town Massachusetts.
“Prince of Broadway,” an anthology musical of shows overseen by the mighty Harold Prince, travels aimlessly through the decades.
The musical “Natasha, Pierre & the Great Comet of 1812” ends its exuberant run on Broadway on Sept. 3.
“Primer for a Failed Superpower,” a concert in Brooklyn directed by Rachel Chavkin, asked an audience to raise its voice in protest songs of many generations.
An exquisite multidisciplinary performance piece blurs the senses in considering the life and work of this Dutch artist.
Theater has quickly taken on the Trump presidency. Whether what’s onstage can change minds or spark action is open to debate.
Stage adaptations of “Bat Out of Hell” and “The Secret Diary of Adrian Mole, Aged 13¾” allow the middle-aged to retreat to the age of innocence.
The president is spending 17 days in New Jersey and New York. A few of our critics weigh in with recommendations of shows to watch (besides the news).
Plays in London spanning more than a century suggest how much and how little has changed for British women.
On London stages: A new look at the rise of a media mogul, and two anniversary revivals that explore a nation tilting between hedonism and despair.
Political plays by Suzan-Lori Parks and Michael Moore, Harold Prince’s hit anthology and New York premieres from Simon Stephens and Bruce Norris.
The Irish playwright Conor McPherson weaves an American tale of nomads out of the Bob Dylan songbook in this play at the Old Vic Theater in London.
In “Moscow Moscow Moscow Moscow Moscow Moscow,” the playwright Halley Feiffer reimagines Chekhov.
“Cat on a Hot Tin Roof” has rarely ignited in recent years. But this production in London dazzles.
Andrew Scott’s portrayal in a London production of “Hamlet” almost banishes other performances from memory.