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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.
Marin Ireland blazes furiously as an emotional terrorist in Abby Rosebrock’s emotionally congested comic drama, set in a Southern rehab center.
An eclectic opening weekend included sketches and songs by Nigerian women, two unsettling monologues and a punk-rock reminiscence (with mixtape to follow).
Amy Heckerling’s amiable but limp adaptation of her classic 1995 film suggests a peppy fan club putting on its own makeshift show.
This gnomic tale from the fabled director portrays a man expiating a patricide outside a prison’s walls.
This extraordinary, London-born work of immersive theater places its audience at the fraught and energetic center of a migrant camp in France.
Ivo van Hove’s stage adaptation of the 1976 film presents a pricelessly demented affair between a has-been anchorman and the cameras that love him.
It was a year when classics were reincarnated in deceptively modest interpretations, conventional story forms were tossed aside and strong voices roared.
Martin Moran’s radiant memoir of a play recalls an experience of sexual abuse with a sense of luminous mystery.
In this garrulous play of ideas, the author of “The Real Thing” and “The Coast of Utopia” takes on the essence — and ethics — of being human.
Aleshea Harris’s remarkable new play brims with an expressly theatrical eloquence and anger.
Hansol Jung’s industriously imaginative play uses visions of winged flight to explore the loneliness of two ambivalent lovers in Seoul.
John Doyle’s inventive revival of Brecht’s 1941 satire about Adolf Hitler is more impressive for theatrical ingenuity than topicality.
This one-man show, about the anxieties of impending fatherhood, makes a seductive case for seeing a comedian live in the age of Netflix.
In Oliver Butler’s revival, Will Eno’s reputation-making monologue of masochistic bleakness suddenly feels a lot less shocking.
Mr. Sanders, a veteran of four decades of stage and screen work, is giving the performance of his career in his first appearance in Chekhov.
The one-ton, 20-foot marionette is impressive, but the $35 million musical he stars in doesn’t even succeed as camp.
Patricia Ione Lloyd’s macabre domestic comedy suggests that for African-Americans, every day is a potential horror movie in the making.
Garry Hines’s very funny interpretation of Samuel Beckett’s best-known work finds the kinetic cartoon humor in existential futility.
In this brisk and entertaining revival of Harvey Fierstein’s Tony-winning play, Michael Urie and Mercedes Ruehl are mesmerizingly larger than life.
Ngozi Anyanwu’s tender new play, directed by Awoye Timpo at the Vineyard Theater, considers the nature of memory in the aftermath of a tragedy.