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This labored adaptation of a James short story, starring Tony Yazbeck, features a boldface creative team that includes John Kander and Susan Stroman
This initial, mind-frisking comedy from Clubbed Thumb’s Summerworks festival is a reminder of the particular pleasures of warm-weather goofiness.
Erin Markey’s disciplined performance piece, a collaboration with Emily Davis, examines the dissolving boundaries of intense intimacy.
Kieran Knowles’s gripping play about the Sheffield Blitz, part of the Brits Off Broadway festival, focuses on the interdependent lives of four steel workers.
In this highly adrenalized production of Eugene O’Neill’s harrowing family portrait, everybody seems to be acting as fast as possible.
This exquisite Wooster Group evocation of Tadeusz Kantor’s work becomes an ode to the ephemerality of theater and its creators.
Passionate agreement on best musical, but after that all bets are off.
Disagreeing on classic musicals, agreeing on “The Band’s Visit,” and worried about a season when revivals outshone new plays.
Clare Barron’s glorious new play, at Playwrights Horizons, examines the anguished and ecstatic inner lives of a middle-school dance team.
This rambunctious riff on an ancient Greek comedy, at St. Ann’s Warehouse, considers the crazier consequences of the quest for utopia
This master farceur’s play, believed to be his 81st, charts social changes through six decades in a single stately home, inhabited by people as silly as they are sad.
Our chief critics offer reaction to the nominations, which were hard on jukebox musicals and “Frozen” but good to “My Fair Lady” and “Carousel.”
May is a good month to venture away from Times Square blockbusters. “Our Lady of 121st Street” and “Long Day’s Journey Into Night” are Off Broadway highlights.
George C. Wolfe’s entertaining production allows the large ensemble, including Mr. Washington, to charm one another and play to the crowd.
This exuberant revival of Tom Stoppard’s 1974 comedy of the intellect, starring Tom Hollander, is one of the sweetest and strangest defenses of art.
Lucy Thurber’s compassionate but clunky play follows the bids of two young men from the Bronx to win scholarships at a New England college
J.K. Rowling’s ever-popular boy wizard is all grown up in this enthralling two-part play, directed with seamless magic by John Tiffany.
In the Irish Repertory Theater’s solid revival of Conor McPherson’s Christmas classic, the Devil sits down for Yuletide wassail and a game of cards.
Amelia Roper’s portrait of disparate — and desperate — lives in a Swiss hotel becomes an indictment of moral blight in the 21st century.
Lynn Nottage’s beautiful, reverberating portrait of a murder and its consequences follows the global path of illicitly obtained ivory.
Jack O’Brien and Justin Peck’s heartfelt, half-terrific revival of an American classic stars a wonderfully ambivalent Joshua Henry and Jessie Mueller.
Lindsey Ferrentino’s ambitious but ungainly drama, at Playwrights Horizons, assesses the effect of a school shooting on one uncomprehending survivor.
Tina Fey’s adaptation of her 2004 screenplay about high school cliques comes to Broadway with wit, fetch and a surplus of songs.
The puppeteer Basil Twist’s singular riff on a Berlioz symphony returns with enhanced production values and undiminished hallucinatory magic.
Target Margin Theater’s tantalizing reconception of “The Thousand and One Nights” reminds us that there have always been unreliable narrators.
Simon Stone’s latter-day riff on Lorca’s poetic tragedy dares to go to extremes, in this portrait of a journalist trying to conceive a child.
This astutely acted revival of Kenneth Lonergan’s play presents conversation as an ongoing act of deception and betrayal.
Marianne Elliott’s London-born production of Tony Kushner’s masterwork is blazingly reimagined with a cast including Nathan Lane and Andrew Garfield.
This sumptuous if uninvolving Encores! production invites you to wallow with the beautiful and damned in old Berlin.
The Keen Company’s limpid revival of A.R. Gurney’s 1993 play makes a case for this eloquent portrait of a man who can’t change.
This ensemble piece from the Baxter Theater Center of Cape Town traces the exhilaration and ache of group activism.