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The actor conveyed the gravitational force of mortality, tugging the men he played so commandingly toward a void beyond meaning, our critic writes.
Jonathan Groff, Lindsay Mendez and Daniel Radcliffe are the heart of the tear-streaked “Merrily We Roll Along” Broadway revival.
“Leading Lady,” a mosaic of reminiscence and self-analysis, explores the ascent of a man who’s really good at playing women.
“I had been prepared to be awed, intimidated, even terrified,” Ben Brantley writes of meeting the actress in person five years ago.
Audiences were eager to humbly suffer the stinging quips tossed out by the towering figure that was Barry Humphries’s creation.
Maria Friedman’s productions of the show in London and Boston were hits. Now a starry cast is preparing to open her latest staging Off Broadway.
The actor, who died at the age of 72, was known for his commanding performances of Shakespeare’s Richard III and the Auschwitz survivor Primo Levi.
She was unforgettable onstage playing seemingly serene women who rippled with restlessness.
On a thrilling trip to New York, a 16-year-old budding critic learned that the insistent optimism of musical theater was a beautiful lie.
The New York Times theater critic, who stepped down after 27 years, recently responded to readers, including one hungry for a do-over on his review of a blockbuster musical.
After 27 years on the job, the writer Ben Brantley bids farewell with one last recommendation: Watch a show as if you were a reviewer.
After 27 years and more than 2,500 reviews, The Times’s co-chief theater critic reviews his own tenure and talks about why he’s (quietly) making an exit.
In a few minutes or a full show, these performers capture heartbreak, fury and laughs. For the words of Samuel Beckett, a disembodied mouth did the trick.
Self-aware, self-conscious or self-deluding, it’s a form as old as theater itself. And it’s flourishing in a time of social isolation.
In this enthralling streaming production of Brian Friel’s 1979 play, an itinerant miracle worker is grounded in a gritty reality.
Richard Nelson’s profound conclusion to his Zoom-format trilogy about the Apple siblings examines the perils of conversation in 2020.
This streamed reading of Beth Henley’s slice of Southern noir offers scorching portraits of bad faith from Ed Harris, Amy Madigan and Bill Pullman.
Today we stream what shows we can find. Back then: James Dean, “Twelve Angry Men” and conclusive proof that Kim Stanley was one of the all-time greats.
This streaming piece by Abigail and Shaun Bengson translates the agonies and ecstasies of lockdown into a cosmic hootenanny at his folks’ house.
The Berkshire Theater Group put on the first professional musical in the U.S. since the pandemic lockdown, and it’s a revival in every sense.
Our critics discuss the last four months, which thanks to Zoom (and Meryl Streep) have been full of experimentation and playfulness.
In Duncan Macmillan’s play, streaming live from the Old Vic, the stars of “The Crown” play a contradictory couple in an age of isolation.
They’re never gone: Star turns from Ralph Fiennes, Meryl Streep, Gregory Hines and Christopher Plummer still live in the mind’s eye of readers.
From the documentary works of Anna Deavere Smith to brief monologues written in this moment of unrest, dramatists are sounding an alarm.
Miranda’s rap. Rylance’s poems. Jackman’s pelvis. And a brassy reunion for Bea Arthur and Angela Lansbury. Now set your clock for “Turkey Lurkey Time.”
The Belarus Free Theater’s livestreaming, mind-bending adaptation of Sasha Sokolov’s poetic novel assumes the bifocal eye-view of a divided self.
For stuck-at-homes feeling like submerging into the existential depths of no-exit theater, here’s a list of works to read and to watch.
Unforgettable moments lost to time, from Christopher Plummer to Jennifer Holliday, now more than ever remind us of theater’s special resonance.
In a livestream production of Caryl Churchill’s 1990 tale of riot-torn Bucharest, quarantined Bard acting students grapple with revolution.
Then ask questions of its playwright, Dominique Morisseau, and The New York Times critic who reviewed the first production.
In Richard Nelson’s “What Do We Need to Talk About?,” a familiar clan poses resonant questions about how we connect in the age of social distancing.