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An exquisite multidisciplinary performance piece blurs the senses in considering the life and work of this Dutch artist.
Theater has quickly taken on the Trump presidency. Whether what’s onstage can change minds or spark action is open to debate.
Stage adaptations of “Bat Out of Hell” and “The Secret Diary of Adrian Mole, Aged 13¾” allow the middle-aged to retreat to the age of innocence.
The president is spending 17 days in New Jersey and New York. A few of our critics weigh in with recommendations of shows to watch (besides the news).
Plays in London spanning more than a century suggest how much and how little has changed for British women.
On London stages: A new look at the rise of a media mogul, and two anniversary revivals that explore a nation tilting between hedonism and despair.
Political plays by Suzan-Lori Parks and Michael Moore, Harold Prince’s hit anthology and New York premieres from Simon Stephens and Bruce Norris.
The Irish playwright Conor McPherson weaves an American tale of nomads out of the Bob Dylan songbook in this play at the Old Vic Theater in London.
In “Moscow Moscow Moscow Moscow Moscow Moscow,” the playwright Halley Feiffer reimagines Chekhov.
“Cat on a Hot Tin Roof” has rarely ignited in recent years. But this production in London dazzles.
Andrew Scott’s portrayal in a London production of “Hamlet” almost banishes other performances from memory.
This exuberant musical out of Toronto, adapted from the poems by Edgar Lee Masters, presents an all-souls hootenanny.
Sam Gold’s funny and heartbreaking production treats Shakespeare’s daunting masterpiece with disarming familiarity.
One night a week, Donna Murphy takes over the title role in “Hello, Dolly!” from Bette Midler. Alternates, like her, and replacements can help make or break a hit show.
A British theater troupe considers the uses and abuses of psychological experimentation in “Opening Skinner’s Box.”
Dominique Morisseau’s new play at Lincoln Center plunges us into the fatalistic worldview of the mother of an African-American teenager.
Dominique Morisseau is one of the theater’s most penetrating voices. In her latest play, she focuses on issues of class and education.
An often irritating British-born adaptation of George Orwell’s novel suggests that all facts are alternative.
Our chief theater critics went to see the interactive performance piece on the same night, expecting to have vastly different experiences. They didn’t.
In this impeccably realized play by Abe Koogler, four mismatched characters reach out to each other in a New Mexico desertscape.
Third Rail Projects turns the Claire Tow Theater at Lincoln Center into a haunted house of theatrical ego.
A.R. Gurney’s passion for theater spilled over the edges of his work, from “The Dining Room” through “Love Letters”
Kirsten Childs’s musical at Playwrights Horizons is a picaresque tale about a young woman and her unusual protector.
In James Ijames’s play “Kill Move Paradise,” four young black men try — and fail — to understand how and why they died.
In Alex Borinsky’s “Of Government,” life keeps taking the most unexpected turns for a group of eccentric women.
An actor and a playwright mesh seamlessly in Christina Masciotti’s “Raw Bacon From Poland,” starring Joel Perez as a veteran with post-traumatic stress disorder.
Rebecca Hall demonstrates why she’s the master of the dark mood in Clare Lizzimore’s bleak play
Red Bull Theater’s rollicking production of this Gogol play finds the cathartic value of satirizing bad behavior.
June brings a comedy for those who prefer to be weirded-out; a show for theatergoers with itchy feet; and Kevin Spacey in the role of Clarence Darrow.
The cast of a new adaptation has such masters of mayhem as Michael Urie, Arnie Burton, Stephen DeRosa, Michael McGrath and Mary Testa.
In this reimagined version of Shakespeare’s tragedy, the Prince of Denmark becomes the Prince of Persia.