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Corey Hawkins soars as a great pretender in this otherwise earthbound revival of John Guare’s masterwork.
This epic musical about an amnesiac princess suffers from its own identity crisis.
In this endlessly fascinating work, Annie Baker, the author of “The Flick,” considers the art and necessity of fabulation.
Christian Borle is the eccentric Willy Wonka in this tentative musical based on the Roald Dahl children’s classic.
In this rose-colored revival of the 1964 war horse “Hello, Dolly!,” Bette Midler provides a dazzling lesson in star power
Paula Vogel makes her long-awaited Broadway debut, telling the story of a Yiddish drama shut down in 1923.
A beloved movie is adapted to the musical stage with feverish imagination — and a magnetic Andy Karl shooing away the shadow of Bill Murray.
This uncanny play from the great experimentalist Richard Maxwell brings to mind Clint Eastwood’s Man With No Name, but with more to say.
Bartlett Sher’s masterly production of J.T. Rogers’s drama about the Oslo Accords is reborn as the colossus it was always meant to be.
Patti LuPone and Christine Ebersole find the human factor in a repetitive musical about battling cosmetics magnates.
A bouncy revival of a Noël Coward classic re-establishes the Tony-winning Mr. Kline as one of the great physical comedians.
This mild-mannered musical adaptation of the famously divisive 2001 French film is unlikely to inspire similarly passionate responses.
This knockabout farce from London trades on the perverse comfort of watching things go smash in a safe, contained environment.
Offerings include a matchmaker named Dolly (embodied by a little old diva named Bette) and a new work from Annie Baker.
In this visually ravishing production, Bobby Cannavale steps into a part that has been waiting for him for decades.
In this harshly funny performance piece, a stand-up artist translates thoughts about Latino history into hyperkinetic action.
Lynn Nottage’s bracingly topical play explores the working-class anger and anxieties that put Donald J. Trump in the White House.
The singing scenery of “Miss Saigon” is back on Broadway, with political corrections and a newly proportioned cast.
Cole Porter’s lost musical from 1930 raises a glass to the giddy heyday of Prohibition and high (really high) society.
Two long-married couples take a walk on the wild side in Sarah Ruhl’s comedy of lust, friendship and animal sacrifice.
A monster devours your sense of security in this scream-filled Julia Jarcho evisceration of classic horror movies at Abrons Arts Center.
In David Byrne’s inert new musical, France’s favorite saint storms England with power chords.
Voices are seldom raised in Rachel Bonds’s beautifully acted play, and big, confrontational truths mostly remain unspoken.
The Debate Society’s leisurely and copiously detailed production contemplates two Chicago World’s Fairs, and everything in between.
This whimsical exploration of the world created by the writing of Charlotte, Emily and Anne Brontë gets an alternately intriguing and irritating production.
This musical pushes emotional buttons as it portrays a town’s efforts to accommodate travelers whose planes were diverted to a Canadian town after the 9/11 attacks.
The director Sam Gold and his cast, led by an intrepid Sally Field, have deconstructed the Tennessee Williams classic. But don’t expect the pieces to be reassembled.
Joshua Harmon’s comedy, at the Booth Theater, tells of a gay man’s turmoil as he watches wedding bells break up his gang of gal pals.
This musical about a demonic barber could be more penetrating, but still respects the original story’s depiction of madness.
Mr. Lipton teams up with Leigh Silverman to bring “The Outer Space” to Joe’s Pub at the Public Theater.
March brings a set of rivalrous blue-collar workers, a resentful stoker on an ocean liner and, oh yes, one very angry barber.