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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.
Diverging explanations of her past, her marriage and what’s really on her mind in a solo comedy.
It’s not the Mary Martin vehicle you loved as a child. But Bernstein’s version is getting a rare revival at the Bard SummerScape festival.
The writer-performer Alessandro Magania narrates the tale of a man disguised as a page-turner, working hard to not be noticed.
Jessica Walker delivers a delightful musical portrait of the now forgotten cabaret artist Suzy Solidor
The intimate yet abstract correspondence between Tchaikovsky and a wealthy widow is interspersed with song in a new production.
Majority rule (mostly). One play per playwright. How we put together the 25 Plays list, and a bid to remember notable writers and favorite works that missed the cut.
Liza Birkenmeier’s play is an alienating exercise in extreme absurdism.
The stagecraft is impressive, but if you’re not familiar with J.K. Rowling’s world of wizards, “Cursed Child” can be a mystifying slog.
Ms. Rossellini’s latest show explores animals’ thoughts and behaviors using puppets, videos — and, yes, an adorable dog.
A brief history in five musicals — and a rating system of disco-dancing emojis.
How the ‘SpongeBob’ costume designer used found objects — and yes, sequins — to dress an eye-popping array of singing, dancing sea creatures.
A razzle-dazzle mash-up of “The Seagull” and “Hamletmachine” at La MaMa has a ramshackle feel.
New York-area audiences finally have a chance to see Angélica Liddell, a darling of European theaters, in “Esta Breve Tragedia” at Peak Performances.
Two teenage sisters share a life where the extraordinary can be ordinary in this play directed by Alex Howarth.
“Be More Chill” played a month at a New Jersey theater, and nothing much happened. Then the internet got very busy.
A mighty king demanding declarations of love faces villains you understand, in this Royal Shakespeare production at BAM.
This year’s Humana roster includes merciless looks at power imbalances in the workplace, and a doom-metal finale that left audiences shellshocked.
A spate of works like “The Wolves” and “The Wholehearted” use sports to explore ideas about femininity, self-image and power.
There’s weird fun to be had in mash-ups of classical and rock music. But this show sticks to an overly familiar playlist.
A French cook demonstrates the art of living in the moment in this adaptation of an Isak Dinesen short story.
A new show draws on the art and writings of Leonora Carrington and Alejandro Jodorowsky, and gives viewers a peek into an expansive world.
In an overstuffed one-man show, Modesto Jimenez recalls a personal journey that includes gang life, a liberal-arts college and experimental theater.
The Damon Runyon adaptation from The Actors Company Theater could use more of his snap, crackle and pop.
Time runs in circles in Mr. Kelly’s autobiographical memory play at La MaMa.
Joël Pommerat’s visually abstract, sonically sophisticated adaptation will be performed this weekend as part of the three-week Tilt Kids Festival.