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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.
He was a stalwart member of the group of actors who worked with the director Peter Brook. Mr. Myers died of the novel coronavirus.
The streaming concert “Take Me to the World,” featuring a gallery of musical stars, honors the probing ambivalence of a master songwriter.
The magical kingdom of Broadway is shuttered, but our critic returned to it — or rather a version of it that opened his eyes, Bette Davis wide, to New York theater.
Remembering an actor of uncommon power who gave heroic stature to a character crippled by depression in “Death of a Salesman.”
What we plan to listen to in perpetuity (or right now) in our Spotify-enabled isolation.
To begin with, don’t call them soundtracks!
A listening guide to the cast albums, playlists and video footprints left behind by 18 Broadway and Off Broadway musicals.
Our co-chief theater critics discuss the plays and musicals that reflected and predicted an unstable world.
Our chief theater critics have no nickel-plated medallions to hand out, but they find plenty to celebrate among shut-down Broadway offerings.
It’s a tradition this drama critic would highly recommend to those looking for ways to find magic in empty hours.
Funny, scary and necessary, this series of taped soliloquies contemplate the way we live now, in isolation.
An opinionated take on the songwriter’s major works, from a delayed debut to a Pulitzer Prize- winning classic.
Why did it take so long for the composer to be unambivalently embraced? Maybe because ambivalence is what he’s embraced most of all.
This thoughtful, history-spanning portrait of elusive identities testifies to the versatility of its composer, Michael Friedman.
This ravishing and singular musical, written and directed by Conor McPherson, hears America singing — Dylan — during the Great Depression.
Katori Hall’s genial play, built around a cooking contest in Memphis, uses a sitcom structure to explore black masculinity.
Lucas Hnath’s brilliant, boundary-melting play, starring a marvelous Deirdre O’Connell, is a first-person account of the violent kidnapping of his mother.
Lauren Yee’s ambitious, tonally mixed play uses bait-and-switch tactics to approach the dark heart of a genocidal regime.
She may seem self-effacing, but it takes skill and smarts to be Nora and Hillary and, next, Martha in “Who’s Afraid of Virginia Woolf?”