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William Jackson Harper’s polished debut as a playwright, set in 1964, pits patient negotiation against disruptive activism.
Mr. Mandvi, who spent nearly 10 years as a correspondent on “The Daily Show,” brings back his solo comedy act. It returns with new resonance.
An aspiring musical-theater writer is on the hunt for Ms. Right in this familiar romantic comedy.
Yasmina Reza’s tidy comedy has been produced in 45 countries and translated into 30 languages. How will it withstand a deconstruction by two experimental theater companies?
“Smugness is lethal,” says the filmmaker Todd Solondz, who, with “Emma and Max,” brings his sharp eye for hypocrisy to the stage for the first time.
The Bedlam show, stitched together from parts borrowed from Chekhov and Shakespeare, should perhaps be credited to Chekspeare.
Rob Roth’s new multimedia show uses video to try to capture the relationship between an obsessive fan and the actress who’s the object of his fantasies.
A theater festival presented works he directed, stage adaptations of his films, and creations he influenced. Even a “Seventh Seal” for kids.
They are often Broadway sensations, but jukebox musicals rarely get good reviews. We invited our critics to stop snarking and tell us what they want.
In this winning new musical, a 12-year-old girl is spurred to action by her far-flung imaginary friends.
A future-shock musical comedy about redhead rights could use a makeover.
Naming a show can be tricky. Some recent titles are obscure, others extremely long. And then there’s the weird punctuation. What’s going on?
Scenes from an annual “vent” gathering in Kentucky, where puppets rule and their masters crave respect for an unappreciated art form.
Renée Taylor’s solo show, based on her memoir, is about more than food and deprivation, and it’s loaded with one-liners.
In this revival of Wallace Shawn’s 1979 play, a couple’s loathing creates a weird frisson of erotic challenge.
With “Head Over Heels” in previews, we looked at how five Go-Go’s songs evolved into musical-theater numbers.
Diverging explanations of her past, her marriage and what’s really on her mind in a solo comedy.
It’s not the Mary Martin vehicle you loved as a child. But Bernstein’s version is getting a rare revival at the Bard SummerScape festival.
The writer-performer Alessandro Magania narrates the tale of a man disguised as a page-turner, working hard to not be noticed.
Jessica Walker delivers a delightful musical portrait of the now forgotten cabaret artist Suzy Solidor
The intimate yet abstract correspondence between Tchaikovsky and a wealthy widow is interspersed with song in a new production.
Majority rule (mostly). One play per playwright. How we put together the 25 Plays list, and a bid to remember notable writers and favorite works that missed the cut.
Liza Birkenmeier’s play is an alienating exercise in extreme absurdism.
The stagecraft is impressive, but if you’re not familiar with J.K. Rowling’s world of wizards, “Cursed Child” can be a mystifying slog.
Ms. Rossellini’s latest show explores animals’ thoughts and behaviors using puppets, videos — and, yes, an adorable dog.
A brief history in five musicals — and a rating system of disco-dancing emojis.
How the ‘SpongeBob’ costume designer used found objects — and yes, sequins — to dress an eye-popping array of singing, dancing sea creatures.
A razzle-dazzle mash-up of “The Seagull” and “Hamletmachine” at La MaMa has a ramshackle feel.
New York-area audiences finally have a chance to see Angélica Liddell, a darling of European theaters, in “Esta Breve Tragedia” at Peak Performances.
Two teenage sisters share a life where the extraordinary can be ordinary in this play directed by Alex Howarth.
“Be More Chill” played a month at a New Jersey theater, and nothing much happened. Then the internet got very busy.