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In Mohammad Al Attar’s new play, a 20-something Syrian is beaten nearly to death. Will his family and friends (and his country) ever recover?
In the Encores Off-Center revival of the 1991 Sondheim-Weidman musical, men and women who have shot American presidents get to sing. Will anyone listen?
One night a week, Donna Murphy takes over the title role in “Hello, Dolly!” from Bette Midler. Alternates, like her, and replacements can help make or break a hit show.
All 13 of last season’s new Broadway shows, plus two revivals, produced cast recordings. Here’s our critic’s take on what to play and what to skip.
Ins Choi’s story of a Toronto store and the Korean immigrant family that runs it is at Pershing Square Signature Center.
Two outstanding performances in a “Children of a Lesser God” revival are a Berkshires highlight.
It’s politics as unusual on stages across the city in July.
Scott McPherson’s 1991 Off Broadway hit about duty to self and to others makes its Broadway debut in a very different world.
In Meghan Kennedy’s kitchen-table drama at the Roundabout, an immigrant Italian family in 1960 seems ready to explode. Then it does.
Thrilling argument and a strong American debut make a sometime-strange play soar despite some silliness at Theater for a New Audience.
Horton Foote’s 1954 drama of repression is given an affectionate if muddy revival.
Our chief theater critics went to see the interactive performance piece on the same night, expecting to have vastly different experiences. They didn’t.
At Arthur Ashe Stadium in Queens, a one-man show about the crusading liberal lawyer defies all of Mr. Spacey’s efforts to bring it to engaging life.
The assassination of a Trumplike figure in the Public Theater’s production of “Julius Caesar” is already revving up outrage.
What if Mark Twain’s fictional slave Jim wasn’t fictional? What if his descendants included a righteously angry Afro-Futurist artist?
John and Ani have disabilities. Jess and Eddie do not. But in Martyna Majok’s gripping new play, all four are constrained by circumstances.
Mr. Perry has written “The End of Longing,” in which he also stars, and he’ll be there for you when the drinks start to pour.
The bohemians and aristocrats are gathered in the Sussex countryside in 1914. Guess who’s crashing the party?
A new musical explores the ancient (and continuing) Afghan practice of bacha bazi, the sale of boys to wealthy men.
Martial law, then impeachment. Robert Schenkkan’s new future-history play is red meat for blue states.
In Gina Gionfriddo’s new play, a college graduate working off a catastrophic debt and a working-class single mother both aim to become upwardly mobile.
Two plays by Mfoniso Udofia, part of a cycle about the members of a Nigerian family, track their migration to the United States.
What makes the insight fresh in Edward Einhorn’s play is the absurdist language (and Dada style) in which it’s told.
Encores! makes a marvelous if last-ditch case for the cult musical based on “The Iliad” and “The Odyssey.”
Our critics debate a varied, and divisive, Broadway season.
In numerous subplots set against a vicious civil war, Martín Zimmerman’s play explores the contagion of culpability.
Our new co-chief theater critic, Jesse Green, offers his take on Ms. Wiest’s work in this Beckett revival. Follow him on Twitter (@JesseKGreen) and Facebook (jesse.green.critic).
Our new co-chief theater critic, Jesse Green, makes his reviewing debut with this Sondheim musical. Follow him on Twitter (@JesseKGreen) and Facebook (jesse.green.critic).
The co-chief theater critics Ben Brantley and Jesse Green, on the nominated plays, musicals and actors.
Offerings include a revival of Suzan-Lori Parks’s “Venus,” at the Signature Theater, and Robert Schenkkan’s “Building the Wall,” at New World Stages.
There are some things that the Public Theater — founded as the Shakespeare Workshop in 1954 and known for most of its life as the New York Shakespeare Festival — can’t avoid. The occas…