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Michael R. Jackson’s gutsy, exasperated musical is set within the mind of a black, queer man who’s writing a musical about a black, queer man who’s writing a musical …
Swinging lights. Broadway beefs. Words of wisdom. And a restroom serenade. If only some of the highlights were on TV.
This formulaic offering from the author of “Dinner With Friends” chronicles the havoc wrought when a black sheep returns to the family fold.
This revival of Christopher Shinn’s 2007 drama about a widow of the Iraq war keeps its audience at a distance.
A splendid Kathryn Erbe plays a sheltered housewife thrown into limbo in Selina Fillinger’s thoughtful, poignant new play.
Sean Donovan’s multidisciplinary performance piece, set in an isolated rural retreat, finds the chill in summer hedonism.
Jez Butterworth’s Tony-nominated family drama retains its fierce grip with a new cast led by Brian d’Arcy James.
In Dave Malloy’s ravishing new a cappella chamber musical, members of an addiction support group compare notes on getting lost in the web.
Jesse Eisenberg’s wobbly new play, which also stars Marin Ireland, casts Ms. Sarandon against type as a flamboyant suburban community theater diva.
Adventurous directors and galvanizing performances made for unexpected — and very welcome — departures on what once felt like the Staid White Way.
The chief theater critics for The Times choose who they think should win and who should have been nominated.
Terry Kinney’s unbalanced Sam Shepard revival, with Maggie Siff and David Warshofsky, finds the prophecy in a wild and woolly play from the 1970s.
The last of this season’s Encores! musicals in concert, starring Michael Urie, resurrects a 1947 show that feels nostalgic for nostalgia.
Christopher Chen’s contemplative drama at Soho Rep uses E.M. Forster’s “A Passage to India” as a template for exploring, and exploding, nationalism.
Torben Betts’s comedy of catastrophe, at the Brits Off Broadway festival, portrays a television cooking show host in a state of disastrous denial.
New York Times theater critics on a Tonys roster that highlighted originality, if not diversity, and made room for some welcome surprises.
An amazing Cillian Murphy portrays both a grieving dad and the mythical bird who takes over his life in Enda Walsh’s adaptation of Max Porter’s novel.
Adapted from Tim Burton’s 1988 film, this hyperkinetic musical, starring Alex Brightman as a madcap ghoul, tries too hard to haunt.
While electrifying new plays challenged their audiences, “To Kill a Mockingbird” and colorblind musicals catered to the crowds.
These plays deliver a jolt.
James Graham’s invigorating play about London journalism goes on a journey to the tabloid underworld — and the American present.
Halley Feiffer stars opposite Hamish Linklater in her new comedy of anguish, which begins with a memorably chilling first date.
This uncanny, phantasmagorical work from the Lightning Rod Special troupe is a musical cabaret about abortion. That’s right.
As a born-to-lose presidential contender, Laurie Metcalf is exasperation incarnate in Lucas Hnath’s play, which also stars John Lithgow.
In this imbalanced revival of Lanford Wilson’s play, also starring Keri Russell, Mr. Driver unleashes the full, scorching power of his talent.
Ben Whishaw and Renée Fleming provide the oxygen in Anne Carson’s hypnotic and exasperating work, which imagines the actress as a Euripides heroine.
Daniel Fish’s wide-awake revival of an American classic gives us an “Oklahoma!” for our own age of anxiety, without ever betraying its source.
In Sam Gold’s haphazard production of Shakespeare’s bleakest tragedy, Ms. Jackson demonstrates her singular intelligence as an actress.
In Mara Nelson-Greenberg’s fitfully funny play, a female empathy coach faces the insuperable challenge of teaching men some compassion.
This three-hour-plus portrait of the creation and destruction of the house of Lehman, directed by Sam Mendes, is an endlessly absorbing epic tragedy.
This shrewdly assembled show, directed by Des McAnuff, considers the interchangeability of a crew of Motown’s finest, though there’s plenty of star shine, too.