Close Login Box
Gerard Alessandrini’s franchise was looking as long in the tooth as the shows it aimed to skewer. A new edition brings it back to hilarious life.
Ben Brantley and Jesse Green respond to readers curious about the Tony race, hungry for happy fare, and heading to London.
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.
These plays deliver a jolt.
Offerings at the festival include a riff on “Uncle Vanya”; a “Frankenstein” adaptation highlighting a mother’s grief; and an intimate tale of displacement.
An eclectic opening weekend included sketches and songs by Nigerian women, two unsettling monologues and a punk-rock reminiscence (with mixtape to follow).
It was a year when classics were reincarnated in deceptively modest interpretations, conventional story forms were tossed aside and strong voices roared.
Passionate agreement on best musical, but after that all bets are off.
Our chief critics offer reaction to the nominations, which were hard on jukebox musicals and “Frozen” but good to “My Fair Lady” and “Carousel.”
Our chief theater critics on their favorites this year, from “Bruce Springsteen on Broadway” to a host of playwrights tackling life’s chaos.
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.
Our chief theater critics went to see the interactive performance piece on the same night, expecting to have vastly different experiences. They didn’t.
Our critics debate a varied, and divisive, Broadway season.
The co-chief theater critics Ben Brantley and Jesse Green, on the nominated plays, musicals and actors.