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Bedlam’s revival of Tom Stoppard’s time-traveling mind-bender of a play is a meditation on uncertainty.
Goofiness is at an all-time high in director Josh Rhodes’ iteration of the time-cherished musical comedy.
Bruce Sussman and Barry Manilow’s conventional new musical does a rudimentary but essential job of reviving a dead historical act.
Theresa Rebeck’s latest theatrical venture is one of her limpest — a frustratingly monotone, predictable and seasonless dose of comfort theater.
In this new version of the classic Rodgers and Hart musical, Joey is now a Black nightclub singer played by Ephraim Sykes.
This new version of F. Scott Fitzgerald’s classic remains largely faithful to the novel, but it trades subtle prose for a straightforward production.
Jocelyn Bioh’s latest slice-of-African-immigrant-life comedy invites audiences into the glorious maelstrom that is a Black woman’s braiding shop.
Melissa Etheridge’s self-penned show is full of luster, vulnerability and pride — so full it almost aches for an editor.
The revival of Ossie Davis’ killingly funny and perceptive 1961 play is as close to Biblical scripture as Black theater gets.
We spoke with two actors and two playwrights who will be in the spotlight this season.
Awe-inspiring visual effects and hilarious performances drive this theatrical adaptation of the iconic film
Sandy Rustin’s version of a drawing room farce falls short of both feminism and comedy.
David Byrne’s immersive musical is a thrilling pageant of theatrics, but abstracts Filipino history better than enacting it.
Richard Hollman’s tender, site-specific play explores the awkward resumption of a Covid-interrupted friendship over a deceptively innocent game of catch.
Liza Birkenmeier’s abstract play is a unique exploration of romantic relationships but suffers from sleepy direction and a lack of character enrichment.
Alex Edelman’s solo show about his drop-into a white nationalist meeting entertains and illuminates.
The musical of Britney Spears songs hits all the right notes of zaniness, creativity and unbridled joy.
Blankson-Wood plays the Danish Prince at Free Shakespeare in the Park's Hamlet this summer, while Spears stars in Fat Ham on Broadway.
Levi Holloway’s horror opened on May 30 at Broadway’s Lyceum Theatre.
In her adaptation of Lorca, Diane Exavier emphasizes the importance of belonging to a place, and how painful it is to consign memories of it to the grave.
A run-of-the-mill big Broadway extravaganza that knows where, but not when, it is.
David Auburn’s eventless play bargains on feverish nostalgia and a paper-thin portrayal of friendship.
Entering the Broadway production of “Good Night, Oscar,” I knew nothing about playwright Doug Wright’s titular figure, Oscar Levant, but I left caring for the crotchety old man as if h…
Such is the magic of “Good Night, Oscar” and, specifically, actor Sean Hayes’ virtuosic turn as the accomplished Jewish pianist and talk show personality riddled with various mental il…
Since the establishment of modern democracy, several men — and fewer women — have inked policies that govern civic activity, yielding black-and-white legal truths of what constitutes a c…
The weight of “Prima Facie” lies squarely on actor Jodie Comer’s capable shoulders.
Satire is one of the American theater’s greatest tools. At its best, the genre is both an effective pedagogical tool for change and a sharply-aimed weapon for critical analysis. Larissa Fa…
In theater, catastrophes are usually reserved for dramatic works. But in Broadway’s “Peter Pan Goes Wrong,” calamity drives farce forward. British co-conspirators Henry Lewis, Jonathan…
Few would call the Middle Ages a period of thriving liberal democracy, but in Aaron Sorkin’s modernized upgrade to Lerner & Loewe’s 1960 classic “Camelot,” the quest for equality…
Few scenarios are ripe with as much drama as a Black family barbecue. Secrets, revenge and war (usually over the best dishes, but war nonetheless) play out over a steaming grill and a good b…
In his solo show about the death of his teenage children, Colin Campbell recounts his calamitous relationship with the darkest of emotions.