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Questions of identity are explored through song in three shows at the New York Musical Festival.
This Chris Harcum play tells how a theater enthusiast funneled his passions.
The Classical Theater of Harlem’s staging of the Alexandre Dumas novel emphasizes the comic action — and turns D’Artagnan into Mademoiselle D’Artagnan.
In just under 10 years, Cole Escola, who is 30 but looks much younger, has become a ubiquitous presence on the downtown alt-cabaret circuit.
Why aren’t there more American productions of Canadian plays? Judging from a Toronto theater company’s offerings, the quality of the work isn’t the obstacle.
This ragged but high-spirited musical adaptation of Henry Fielding’s “Tom Jones” stars Evan Ruggiero, who lost most of his right leg to cancer.
A strangely entrancing new work explores a mysterious audio recording, and recreates a moment in the life of a 1950s Long Island family.
En Garde Arts’ new production is an immersive work about immigration and making the best of difficult situations. Like those acoustics.
Zakiyyah Alexander’s ambitious play leaves the viewer wanting more, but several other works register as contrived or wan.
Cynthia Hopkins’s new show explores how she found the strength to rebuild her life after the home and studio she shared with her husband went up in flames.
A delicious conceit for a comedy sketch is stretched way too far in Jay Stull’s new play.
This Theater Breaking Through Barriers revival of Charles Ludlam’s 1986 comedy is never quite nutty enough.
Amina Henry’s new play at Jack is about a greedy but not particularly bright entrepreneur and four determined dancers who compete in Pittsburgh.
Jon Brittain’s play explores the fallout when Fiona announces to her girlfriend that she wants to transition and be called Adrian.
Mr. Urie, the frontman of the band Panic! at the Disco, is taking over the role of Charlie Price on Broadway.
In this new play, devised by the ensemble Piehole, we spend time with a group of friends who relive past adventures.
This production is a hybrid of concert and theater, a combination that has become the signature of the Ensemble for the Romantic Century.
Just a few years out of Juilliard, Mr. Hawkins stars in “24: Legacy” on TV and “Six Degrees of Separation” on Broadway
Les 7 Doigts (The 7 Fingers) present “Cuisine & Confessions,” in which this Montreal company’s members boil, pan-fry, back-flip and somersault.
The Grammy-winning musician thought he was just writing the score for “Samara.” Then the playwright Richard Maxwell asked him to take a role, too.
Harvey Fierstein stars in Martin Sherman’s poignant new play about the relationship between a young Londoner and an American expat.
The 1950s plays “Picnic” and “Come Back, Little Sheba,” in repertory revivals at the Gym at Judson, capture the playwright’s gift for understatement.
The SITI Company’s opaque, mystifying play is built entirely from the composer’s quotations, arranged into an exploration of the artistic process.
“Julius Caesar“ and “X: Or, Betty Shabazz v. The Nation” illuminate each other as they run in rep.
The murdered Algerian remained anonymous in Albert Camus’s “The Stranger,” but this new play by Betty Shamieh reframes the point of view.
The Australian composer and performer on his career and the music and lyrics he wrote for “Groundhog Day.”
Max Vernon’s new musical sends a contemporary man back to 1973 and the UpStairs, a real New Orleans gay bar destroyed by arson.
The siblings in James Lecesne’s new play, directed by Tony Speciale, continue to disagree about some rather important aspects of their upbringing.
This play from the New York Neo-Futurists embraces audience suggestions, with varying results.
Presented by Pan Asian Repertory, this play by Damon Chua, set during World War II, is steeped in the traditions of film noir as well as several other genres.
The British actress plays Prospero in an all-female “The Tempest,” her latest gender-switched Shakespeare production, set in a penitentiary.