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New York theater rolls into fall again with a packed schedule of Broadway, off-Broadway, and experimental theater.
At Park Avenue Armory, writer-director Robert Icke transforms Greek tragedy 'Oresteia' for a more postmodern audience.
The bestselling novel 'The Kite Runner' has been adapted marvelously for screen and now for stage yet a weak adaptation does it no justice.
Shakespeare adaptations come with a certain pressure, with some more successful than others. ‘Richard III’ struggles to make the cut.
Revivals of Sondheim can be mixed business due to the pressure of his legacy yet some revivals. 'Into the Woods' does his legacy justice.
Robert Icke's production of 'Hamlet' at Park Avenue Armory is nearly four hours and it's mostly Hamlet throwing a weird little fit.
An excellent cast with a so-so story, 'Epiphany' has great moments that don’t quite come together, but could appeal to some.
The combined genius of Sarah Silverman, Joshua Harmon, and the late Adam Schlesinger brings you back to childhood at Atlantic Theater..
Playwright James Ijames adapts Shakespeare's 'Hamlet' to modern North Carolina following the drama of a family-owned BBQ restaurant.
An ambitious play, 'Golden Shield' attempts to weave Chinese censorship law, political dissidence, and family drama, to varying success.
At Pershing Square Signature Theatre, 'A Case for the Existence of God' takes a direct look at the lives of seemingly very different men.
At Longacre Theatre featuring Daniel Craig and Ruth Negga, director Sam Gold takes on Shakespeare's Macbeth. Incoherent yet star-studded.
At Lyceum Theatre, a production of 'A Strange Loop' pulls audiences in as it tackles coming into your own as a Black gay man.
The 1942 allegory returns to the stage with Director Lileana Blain-Cruz and star Gabby Beans at Lincoln Center Theater.
Beanie Feldstein turns the story of Funny Girl from the rising up and wising up of a great, if troubled, trouper into the wish-fulfillment fable of a moderately gifted young lady.
Martin McDonagh's 'Hangmen' features Alfie Allen and David Threlfall in a story that explores the abolishment of hanging in 1965 England.
The relevancy of the material is still stark, even 25 years after it was initially staged.
Running at BAM with James McAvoy playing the titular role 'Cyrano de Bergerac' is a beloved tale of yearning, beauty, and desire.
The current revival at the Hayes, produced by Second Stage Theatre and ably directed by Scott Ellis, is quite good — well-acted, smart in tone and pace, handsomely designed, with some rese…
An average ticket price of $212.67 will make a person believe anything. It can turn a Best Western into the Four Seasons.
The documentary play 'Coal Country' examines the aftermath of such a cataclysm, the Upper Big Branch Mine disaster of 2010, in which 29 out of 31 miners were killed in a coal dust explosion.
Fifteen new productions will open on Broadway in the month of April, that’s one every other day.
The 90-minute drama charts Moy’s journey in America from hopeful teen to jaded adult, a progression shadowed by American attitudes toward Chinese immigrants—ranging from Orientalist cond…
Cross-cultural tension looms over Sanaz Toossi’s English, an understated classroom dramedy about the things we lose in crossing linguistic borders.
Wagner’s message is a simple but deeply humanistic one: We’re all specks in the universe, random, unknowable bio-containers, and who knows where my atoms end and yours begin?
One thing I am certain of: 'Company' is the most sophisticated fun I’ve had in a theater in ages.
It’s a downbeat fable about escaping the toxic narcissists who created your body.
It’s a patriarchal pangender fantasy that simultaneously de-centers and re-centers cishetero masculinity. Fancy lingo for: kinda outdated and icky.
He will continue to shape the future of musical theater because he trained our ears, set the bar high, and new composers and lyricists will study his work. For a hundred who try, misguidedly…
You absolutely must see it if you care about Black work on Broadway, American theater, and the evolving state of our “canon.”
Who knows if musical fiascos such as 'Diana' exist solely for the bitter amusement of theater critics?