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A trenchant workplace comedy about the folks who tried to promote Pizzagate, confuse Wisconsin and, ultimately, elect Donald J. Trump.
Anne Washburn’s would-be epic of power and powerlessness, presented as a podcast, may be too close to current events to fulfill its big ambitions.
The nominators did the best they could with a Broadway slate hobbled by Covid-19. But some of the Tonys’ problems predate (and will outlast) the pandemic.
In a new show by David Kwong, the noted cruciverbalist offers a collection of games built for Zoom that let the audience be part of the puzzle.
After 27 years and more than 2,500 reviews, The Times’s co-chief theater critic reviews his own tenure and talks about why he’s (quietly) making an exit.
From a pro-slavery Martha Washington to a blank-screen Melania Trump, the wives and other women of the U.S. presidents get sent up and dressed down.
A starry selection of scenes from Tony Kushner’s 1993 classic discovers premonitions of another pandemic in the AIDS-era play.
In a few minutes or a full show, these performers capture heartbreak, fury and laughs. For the words of Samuel Beckett, a disembodied mouth did the trick.
One-woman plays by Tracy Thorne and Eliza Bent explore the problems of white power and privilege — and how people who say the right things aren’t helping.
A musical about two French chocolatiers may satisfy the hunger for live song and dance, but keep the insulin handy.
Stephen Karam’s celebrated play about economic distress looks very different in 2020 than it did in 2015 — and streaming is only part of the change.
Six months dark. Thousands of artists out of work. Could this disaster have a surprise ending? Five critics on what must change, onstage and off.
That package in your hallway may be an exciting new theatrical experience. Or maybe not.
The “Fleabag” star Andrew Scott is the entire brilliant cast of a penetrating play about toxic fathers and sons.
The actors quarantined together all summer to produce Shakespeare’s tragedy safely. But they can’t overcome the remove of a camera.
Theater for One was built on the idea of face-to-face encounters. Moving it online could have been a disaster, but instead it’s a heartbreaker.
Among the performances you can catch online are a one-woman show about sexual assault and riffs on “Heart of Darkness” and “Rocky.”
A collection of short solo works from the Weston Playhouse furthers the redefinition of theater online — and of life in isolation.
With broad winks to Agatha Christie and the limitations of remote theater, a serialized song-and-dance mystery goes on. Well, not so much dance.
Expanding content and experimenting with form, the avant-garde finds a congenial new home online, as two recent offerings demonstrate.
In “The 7th Voyage of Egon Tichy,” an experimental theater lab operating from a closet adapts a timely tale about the solitude of cramped quarters.
Eight short plays take cues from the 1930 Noël Coward comedy — but now the stakes are different.
Not so long ago, top stars brought top musicals to suburban arenas that started their lives as tents.
A documentary play based on interviews with New York doctors, nurses and paramedics underlines the inequities of a medical system “flawed from its root.”
Our critics discuss the last four months, which thanks to Zoom (and Meryl Streep) have been full of experimentation and playfulness.
The British government has promised $2 billion to save its cultural institutions, while the American theater, lacking meaningful leadership, is left to fend for itself.
Richard Nelson’s fictional family returns, but for the first time this drama of connection in the age of American bewilderment feels smaller than life.
A streaming production of the Molière comedy, with allusions to the White House as well as Black Lives Matter, tears down walls to rebuild a classic.
An Atlanta theater company addresses racial inequity in a series of virtual dinners that mix drama with discussion.
From the documentary works of Anna Deavere Smith to brief monologues written in this moment of unrest, dramatists are sounding an alarm.
Miranda’s rap. Rylance’s poems. Jackman’s pelvis. And a brassy reunion for Bea Arthur and Angela Lansbury. Now set your clock for “Turkey Lurkey Time.”