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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.’”
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.
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.
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.