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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.
While “Top Secret International (State 1)” traffics in tech and disembodied narrators, “Real Magic” involves a clairvoyance game.
The illustrator Edward Gorey proves a complex subject in this imagined memoir for the stage that focuses more on the man than his art.
Jake Broder brings the decades-gone comedian back to slang-slinging life in “His Royal Hipness Lord Buckley,” but without the pith helmet.
In Stan Richardson’s “Private Manning Goes to Washington,” the activist hacker Aaron Swartz wants to put on a play inspired by the whistle-blower Manning.
The anthology “In This Moment” is presented free of charge by Theater for One in a mobile booth in the Pershing Square Signature Center’s lobby.
Deke Sharon discusses his work on “In Transit,” an a cappella musical about the intertwining lives of New Yorkers.
In a new version of William Burke’s play, at the Bushwick Starr in Brooklyn, Elmo hates the Naked Cowboy, and the Cookie Monster has a box cutter.
The 2016 “Christmas Spectacular Starring the Radio City Rockettes” has put the Music Hall dance troupe’s name in the title with good reason.
Elizabeth Eaton Converse’s story and heartbreakingly fragile songs form the backbone of Howard Fishman’s play with music.
The actress talks about preparing for the stage version of “Terms of Endearment” and about her penchant for giving advice.
The German playwright Franz Xaver Kroetz’s 1973 drama takes naturalism to its extreme, showing a quiet woman passing through her evening.
The acclaimed company’s avowed artistic goal is to “examine and illuminate American nostalgia.”
An oddly endearing production at the Abrons Arts Center that traffics far more in scary bearded creatures than narrative intelligibility.
Ibsen’s evergreen story still has much to offer in this 90-minute version by David Harrower, given a modern-dress production by the Pearl Theater.