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Plays in this Ensemble Studio Theater series include stories of the Second Coming told seven ways and two women in search of a hot duck.
In Crystal Skillman’s new play, a woman in the wake of tragedy resorts to magic and misdirection.
Both a dance party and an Oscar Wilde book club, this musical tries to connect the rise of social media to the end of the world.
After more than 20 years in the musical, Donna Marie Asbury played her final Broadway performance this week.
Lin-Manuel Miranda is a character, and his hit musical is a punching bag, in Ishmael Reed’s didactic play about historical correctness.
She’s making her first foray into theater — while also taking on a Will Smith action flick and the role of Huntress in ‘Birds of Prey.’
In Elise Forier Edie’s play, Alice Ripley plays a conservative Texas parent inspired to fight for the rights of her child’s gender identity.
The Irish Rep production of an O’Casey classic isn’t snazzy, but satisfaction comes from expert actors in complex roles.
Adam Seidel’s play puts two songwriters in the same room, while the music industry watches out for its own economic interests.
Yes, it has clowns and death-defying feats, but “Luzia” also has spinning turntables and a waterfall that produces almost-supernatural effects.
The play, based on the story of Buddy Bolden, a cornetist who is said to be one of jazz’s founders, is equal parts theater, concert and dance party.
Kaneza Schaal’s experimental theater work has three sections and is paired with an installation featuring paintings and videos of the show’s inspirations.
Thaddeus Phillips’s genial show retreats every time things get sticky or uncomfortable.
With the theater made up to resemble a nomadic tent, audience members sit on cushions, couches and bean bags, while the actors roam about the space.
The Tony Award-winning actress, who has been with the musical since its first performance, looks back on its runs on and Off Broadway.
Aaron Posner’s bitingly funny, unexpectedly touching play is “sort of adapted from ‘Uncle Vanya.’”
A harebrained scheme ends in comic confusion in Theo Love’s goofy documentary.
Willy Holtzman’s play, with the storytelling quality of PowerPoint, offers a biography of Judy Holliday, an award-winning actress who died young.
Niegel Smith’s revival of Thomas Bradshaw’s 2008 play is presented at the Flea Theater by a cast made up of people of color, and with a new ending.
A troupe that specializes in “junk spectaculars” turns to McGuffey readers — and peanut butter — in a show that explores schooling and humiliation.
The first draft of Deb Margolin’s play pitted Bernie Madoff against Elie Wiesel. The current version gives her freedom to embellish.
The Mint Theater Company brought back Elizabeth Baker’s drama from 1913 as part of a project dedicated to the British playwright.
High schoolers, jump scares and songs are a tantalizing mix. But Preston Max Allen’s meandering show squanders a promising concept.
There are plenty of earworms in this jukebox musical about Peter Noone of Herman’s Hermits, but the hackneyed love-triangle story lowers the volume.
The French actress has five films coming out in 2019, including one while she stars in Florian Zeller’s play “The Mother” at Atlantic Theater Company.
The show, written and directed by Paul Calderon, begins intensely and continues on a harrowing, one-way trip to hell.
In the world described in Ivan Ayr’s debut feature, men casually assume they are entitled to say or do whatever they want to women.
K. Lorrel Manning takes on racism, homophobia, sexism, police violence and immigration in nine short plays.
The festival, presented by St. Louis Actors’ Studio, comprises three one-act plays by Mr. LaBute: “Great Negro Works of Art,” “The Fourth Reich” and “Unlikely Japan.”
Started in 2016, the three-day expo provides singalongs, meetups, workshops and, of course, “marketplace” booths targeting theater buffs.
Visionary stylist or one-trick pony? With “Network” on Broadway and “All About Eve” on the horizon, the multimedia-mad stage director is ready for his close-up.