Close Login Box
The actor, who starred in the original Broadway run of ‘Rent,’ reflects on the show’s early days and dealing with the grief of his mother’s death.
The film star embodies one of opera’s greatest divas in the solo show “Maria Callas: Letters & Memoirs,” coming to the Beacon Theater.
Featuring a lobster telephone and a robot boy with batlike wings, this puppet romance set in a future post-ecological collapse succeeds on its own weird terms.
Eduardo Machado’s autofictional play follows the playwright’s alter ego as he navigates gay life in the 1980s and ’90s.
The Public Theater’s experimental theater festival is back in person for the first time since 2020. Here, our critics review a second selection of the works on display.
Two passengers share more than just an eerie commute aboard a train headed upstate.
This wacky family show respects the codes of the British holiday tradition known as panto, which means playfully not holding anything back.
In the new Broadway show, Will Swenson plays the superstar, who seems perpetually dissatisfied, as if on a quest — but for what?
In Jordan E. Cooper’s biting satire, Black Americans descended from slaves are offered one-way airfare to Africa.
“Underneath the Skin,” a theater piece by John Kelly, meditates on the life of Samuel Steward, who always lived boldly when others dared not.
Noël Coward’s bleak portrait of a collapsing marriage between two artists has its American premiere at New York City Center.
In the playwright David Cale’s thriller, a woman looking for a vanished friend discovers a new sense of self.
The comedian once again proves his virtuosity as a narrator, weaving a new harrowing tale in his latest Broadway show.
“I think that the legacy is more how we offer a model for future young companies,” Bogart said of the theater company she leads, which is ending its producing activities.
The show’s creative team talks about revamping the immersive Off Broadway hit so that it moves “around the audience” at Circle in the Square Theater.
Ensemble Studio Theater’s 38th Marathon of One-Act Plays showcases what can be accomplished in short-form productions, and how, in some cases, they hem ideas in.
Melis Aker’s new play with music, presented by Ars Nova and PlayCo., follows a musical prodigy without drive or passion.
The palace intrigue behind a mythic battle from 18th-century Japan is the subject of this bilingual play in Manhattan.
He might be the greatest Shakespearean actor you’ve never heard of. At last, New Yorkers will get to see his no-holds-barred portrayal of Hamlet in Thomas Ostermeier’s production at BAM.
In Douglas McGrath’s one-man show, his account of an experience as a teenager unfurls with the can’t-look-away quality of a slow-motion crash.
After the twists and turns of a pop career, the British singer-songwriter adds a new string to her bow: musical composer.
They both first made a splash in the ’90s. They’re now in New York to present new theatrical memoirs that mix storytelling and songs.
“300 el x 50 el x 30 el,” the Belgian troupe FC Bergman’s ambitious theatrical installation, will open BAM’s Next Wave festival with an elaborate set that recreates a rural settlemen…
This musical may lack the 1989 movie’s nihilism, but the gags still work and the songs are great — who are we to quibble?
We spoke to three actors and a playwright — Gregg Mozgala, Bonnie Milligan, Solea Pfeiffer and Noah Diaz — who are taking big shots this season.
Michael John LaChiusa’s delicate new musical starts in Depression-era California and follows two people across six decades.
The Cyndi Lauper and Harvey Fierstein musical, in which the drag queen Lola saves a provincial shoe factory, makes an Off Broadway return at the spacious Stage 42.
After reporting on the Creede Repertory Theater last summer, our writer returned for her vacation and took stock as the company restarted indoor performances.
In her new autobiographical solo play, the actress Jade Anouka recounts the joys and fears of falling for a woman after her marriage to a man ends.
The splashy show, an example par excellence of what makes modern French musicals distinctive, begins a run at Lincoln Center.
Robert Quillen Camp’s play, about an antiracist discussion group, starts out naturalistically, but then pivots, with bloody abandon, to the absurd.