
Daniel Sullivan’s production, full of clarity and subtlety, makes its premiere on Broadway after a summer in Central Park.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Fans of Peter Nichols, one of the finest and most underrated British dramatists of the second half of the 20th century, will definitely find elements to savor in “Lingua Franca.ȁ…
SOURCE: The New York Times Subscription at 05:58PM[SHARE]John Guare’s historical comedy “Free Man of Color,” at the Vivian Beaumont Theater, tosses up bright balls of allusion and prays they’ll land in a coherent patter…
SOURCE: The New York Times Subscription at 05:58PM[SHARE]In scenic design these days, the biggest thing in the theater is film - or to be precise, digital projections.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Kelli O’Hara plays the big-hearted telephone operator in a revival of “Bells Are Ringing.”
SOURCE: The New York Times Subscription at 05:58PM[SHARE]The road to salvation is flat and narrow in “The Break of Noon,” Neil LaBute’s single-tone study starring David Duchovny.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]In first-rate productions of two Harold Pinter plays, five performers quietly send off distress signals with a fluency that leaves you grinning at such stylishly realized discomfort.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]The Kneehigh Theater’s adaptation of “The Red Shoes” presents a raw view of Hans Christian Andersen’s tale.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Let some masters of eloquence deliver your holiday message.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]In scenic design these days, the biggest thing in the theater is film - or to be precise, digital projections.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Why good productions of Shakespeare and Pinter require actors to speak the same language.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Why good productions of Shakespeare and Pinter require actors to speak the same language.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Why good productions of Shakespeare and Pinter require actors to speak the same language.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]A cycle of a dozen plays follows foreign involvement in Afghanistan, its results and the lack thereof.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]The performance artist John Kelly channels Egon Schiele in his reprise of “Pass the Blutwurst, Bitte,” at La MaMa.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Sometimes a familiar line or phrase can be heard in new ways thanks to an actor’s unexpected interpretation.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]In a year that recapped some of New York theater’s least appealing aspects, a few productions made us remember the singular power of theater to astonish.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]In a year that recapped some of New York theater’s least appealing aspects, a few productions made us remember the singular power of theater to astonish.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Brian Bedford, who seems to pick up a Tony nomination whenever he steps foot on a Broadway stage, has returned to portray Lady Bracknell in "The Importance of Being Earnest."
SOURCE: The New York Times Subscription at 05:58PM[SHARE]The British monologist Daniel Kitson comes to know a dead man through his correspondence.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]The idea of theater as an act (and an instrument) of political defiance is a strange one these days to most Americans.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]"Diciembre," at Under the Radar Festival, is a witty, sharply focused vision of a time well past celebration.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]La MaMa, the East Village theater Ellen Stewart created and led, is not a 1960s relic; it continues to produce unexpected and even prophetic art.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Audiences will surely find something wonderful in each of the five performances at the center of Jon Robin Baitz’s new play, “Other Desert Cities,” at Lincoln Center.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Ibsen’s “John Gabriel Borkman,” from the Abbey Theater of Ireland, is in production at the Harvey Theater in Brooklyn.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]A plucky little troupe is breezily overcoming many of the problems that appear to be plaguing “Spider-Man: Turn Off the Dark,” which is next door.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]More than perhaps any other Broadway costume designer of the past half century, she understood that for a certain kind of show, nothing less than all-out dazzle would do.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]Ms. Ebersole, I was reminded with renewed force, is a rarity among musical comedy stars.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]David Auburn’s version of “The New York Idea” updates a 1906 comedy of mores.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]“Gruesome Playground Injuries” is a blood-spattered twig of a play from the up-and-coming dramatist Rajiv Joseph.
SOURCE: The New York Times Subscription at 05:58PM[SHARE]A fresh and affecting Classic Stage Company production of Chekhov’s “Three Sisters” features Jessica Hecht, Maggie Gyllenhaal and Peter Sarsgaard.
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