Monday, March 23, 2026
In Mark Rosenblatt’s play, a powerful portrayal of the beloved children’s book author who almost gleefully exposes his bigotry.
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Antigone, an ancient Greek play, is being adapted in several theaters across New York City. Our critic Helen Shaw explains why Sophocles’s anti-heroine is such a relevant figure today.
SOURCE: The New York Times Subscription at 12:32AM“Antigone” gave us the original “bad girl,” but its themes go beyond that. How do adaptations keep making Sophocles’ ideas about democracy and theater new?
SOURCE: The New York Times Subscription at 12:32AMFriday, March 20, 2026
Two monologue revivals — Jesse Tyler Ferguson as Truman Capote and Wallace Shawn’s solo — reveal how wealth warps our perceptions. Only one pays dividends.
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Encores! revisits a Jazz Age tale of debauchery, with showstoppers from Jasmine Amy Rogers, Adrienne Warren, Jordan Donica, Tonya Pinkins and others.
SOURCE: The New York Times Subscription at 04:24PMThursday, March 12, 2026
The actor’s fondness for the audience radiates outward in this delightful interactive play about naming and noticing the good in the world.
SOURCE: The New York Times Subscription at 11:24PMAnna Ziegler’s feminist take on Sophocles tries to tie in reproductive politics, but the play keeps trampling over its own ideas.
SOURCE: The New York Times Subscription at 09:36PMSunday, March 8, 2026
Thursday, March 5, 2026
The playwright and his collaborator André Gregory are together again, delivering a sumptuous set of interlinked monologues about life, death and betrayal.
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In the stage versions of two beloved books, the most impressive moments emerge when the productions stray from the source material.
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Clare Barron’s gorgeous play, about an unmoored young woman returning home to care for her father, finds a new home at Cherry Lane Theater.
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Without the usual flood of new musicals, the playwrights of works like “Becky Shaw,” “Dog Day Afternoon” and “Giant” are getting a chance to shine.
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Theater for a New Audience’s reimagining of the Shakespearean tragedy misses an opportunity to engage the play’s many echoes with our own tense era.
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Milo Rau’s examination of the infamous broadcast that preceded the Rwandan genocide is onstage now. Two other works, including “The Pelicot Trial,” arrive in March.
SOURCE: The New York Times Subscription at 11:18AMThursday, February 12, 2026
The chameleonic actor takes on several characters in David Cale’s solo play about a writer in pursuit of his stalker. Or is it all in his mind?
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In Alexander Zeldin’s naturalistic adaptation of “Antigone,” Tobias Menzies and Emma D’Arcy star as a feuding uncle and niece.
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Ten actors wear the crowns in Karin Coonrod’s production, which is rich with twilight revelation, at La MaMa in Manhattan.
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Libby Howes was an imposing presence onstage with the Wooster Group. But after abruptly leaving New York in 1981 she became a theater world mystery. What happened?
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“Watch Me Walk,” “Ulysses” and other offerings from Under the Radar and the Exponential Festival engage with personal histories and the works of literary lions.
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Erica Schmidt’s discordant comedy, starring Hamish Linklater and Miriam Silverman, is a farce clumsily straddling two genres.
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The spirit of August Strindberg infuses Hannah Moscovitch’s “Sexual Misconduct of the Middle Classes” and Jen Silverman’s adaptation of “Creditors.”
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Adam Guettel and Tina Landau’s 1996 musical about a trapped caver resurfaces on Broadway, and Shayok Misha Chowdhury and Mona Pirnot play metaphysical games.
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Funding shifts at three of the largest philanthropic foundations have brought turbulence and uncertainty to the intricate New York support system for the performing arts.
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New productions of Shakespeare’s “Richard II,” Annie Ernaux’s “The Years,” Robert Icke’s “Manhunt,” Tennessee Williams’s “The Glass Menagerie,” and more.
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Kieran Culkin and Bob Odenkirk try to close the deal in David Mamet’s classic, and George Clooney stars in a timely portrait of media courage.
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Denzel Washington and Jake Gyllenhaal lack direction, and “The Trojans,” a spirited football-themed Iliad, heads for the end zone.
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Branden Jacobs-Jenkins’s latest offers another family battle royale, and Andrew Scott dazzles in a one-man tour de force.
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The Australian actress, best known for her work on “Succession,” brings all twenty-six characters in “The Picture of Dorian Gray” to Broadway.
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Fifty years apart, the playwrights Samuel D. Hunter and Sam Shepard examine our national obsession with family inheritance.
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In two new shows, the Oscar-nominated, Tony Award-winning star and F. Murray Abraham play against their younger selves.
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The Pulitzer Prize-winning play, set in an E.S.L. classroom in Iran, examines the internal displacements of learning a language.
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