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At the center of Chisa Hutchinson’s one-woman play, written for Audible, is a love triangle with just one side in view.
Adventurous directors and galvanizing performances made for unexpected — and very welcome — departures on what once felt like the Staid White Way.
The chief theater critics for The Times choose who they think should win and who should have been nominated.
Merciless comedy shades to delicate tragedy in a terrific playwriting debut from the poet and performer Aziza Barnes.
Women on the front lines of danger in 1963 were often pushed to the backbench of the civil rights movement. A new play gives them their due.
A flamboyant artiste who danced nearly naked into his 80s gives one last performance in a new play from the Civilians.
New York Times theater critics on a Tonys roster that highlighted originality, if not diversity, and made room for some welcome surprises.
These plays deliver a jolt.
The Broadway adaptation of the 1982 movie is the rare reimagining that actually keeps you laughing.
An old-fashioned, overliteral revival of the 1947 play stars Tracy Letts and Annette Bening.
This comedic sequel to “Titus Andronicus” finds Nathan Lane and Kristine Nielsen cleaning up after a Shakespearean blood bath.
After a downtown stop, a concept album based on Greek myths has become a full-scale Broadway entertainment.
The latest play from the Mad Ones finds the seeds of momentous social change in a 1979 focus group about a kids’ television show.
If the nuance-free singing doesn’t turn you against this revue of songs with lyrics by Oscar Hammerstein, perhaps his holographic ghost will do the trick.
A revival of the Marc Blitzstein “play in music” about unions and kleptocrats is too wan to make much of the material’s contradictions.
“What the Constitution Means to Me,” the best new play of the Broadway season so far, rivetingly combines personal history and civic engagement.
What if black people, sick of injustice, picked up and left the United States? An outrageous satire by Jordan E. Cooper imagines the possibility, and the loss.
What happens when the husband you thought you knew is discovered harboring a terrible secret? Maddie Corman learned the hard way.
How should we look at an old show with objectionable gender politics? As a historical curio, or as the next item on the cancel culture agenda?
A threatening text message with a homophobic epithet leads to catastrophe for two families in a new play by Michael McKeever.
In John Guare’s Möbius strip of a play, John Larroquette is a playwright who finds himself trapped in a surreal mystery called “Nantucket Sleigh Ride.”
With a few changes of emphasis and one major lyric rewrite, the 1948 musical comedy comes through detox as a bawdy, heady pleasure.
Tori Sampson’s play blends elements of mean-girl comedy and African folk tale to create a fable for our time about women and their bodies.
Milo Rau, called “the world’s most controversial director,” asks a cast of young people to relate the story of a notorious Belgian pedophile.
Bekah Brunstetter’s timely comedy about a Christian baker looks with sympathy (if not approval) at the other side of the public accommodation debate.
Look! Up on the stage! It’s a show with good intentions (and a “Dear Evan Hansen”-like setup) that can’t rise above its cartoonish plot.
The fine Signature Theater revival of Athol Fugard’s 1969 play shows how a classic seemingly fixed in one era nevertheless keeps evolving.
Madeleine George’s new play brings back the god Dionysus to convince the women of Monmouth County, N.J., that the ecological end is near.
The path to opening night in New York used to pass through several cities. Now it rarely does — but are shows better off for it?
In “Sea Wall/A Life,” at the Public Theater, a pair of monologues gives the two stars ample opportunity to shine and mourn.
Since you provide the content for this group’s delightful hip-hop musical improvisation, you really have to lend them your ears (and phones).