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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.
Gracie Gardner’s “Cowboy,” which runs from six to 20 minutes, is part of a triple bill: “I just love having a single visual image onstage,” she said.
Peter Mills Weiss and his collaborator, Julia Mounsey, put the audience on edge with the simplest of theatrical tools.
A musical must have a minimum of internal logic and some good tunes. “Christmas in Hell” comes up short on both counts.
Our intrepid theatergoer ate her way through a spate of shows that make food part of the experience. Her stomach sometimes ended up fuller than her imagination.
Ruben Studdard and Clay Aiken, who once competed on “American Idol,” banter, sing and try to upstage each other in this holiday revue.
The playwright Mike Gorman tries to equate Melville’s “Moby-Dick” with the opioid crisis. The ambition is there, but the play falls short.
Scott Aiello’s play about an Italian-American family dealing with a disabled daughter offers no-nonsense American realism.
Idris Goodwin’s energetic but overstuffed play explores race, gender, police brutality and the quest for fame.
Radio City Music Hall successfully merges old-fashioned showmanship and state-of-the-art technology in this year’s Christmas pageant.
How three Broadway actresses capture the essence of one superstar: Thank the costumes, “Burlesque” — and white teeth.
Ronnie Marmo wrote and stars in this bioplay about the groundbreaking comic, who died in 1966.
The Mobile Unit of the Public Theater focuses on the play’s comic side in this energetic production.
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.