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Dominique Morisseau’s 2016 play, now on Broadway, is a swift, well-crafted look at factory workers trapped in an economic “dumpster fire.”
The Eugene O’Neill classic, set in 1912, is just as powerful in Robert O’Hara’s revival, set in our own age of disease and lockdown.
Excellent performances, including one by a well-behaved dog, warm up two experimental plays upstate.
Taking Lily Tomlin’s roles in a revival of Jane Wagner’s metaphysical comedy, the “Saturday Night Live” star is put through her paces.
Two critics on the joys (and pains) of a tentatively hopeful fall season.
In recent musicals, hyperdesign is outstripping writing and direction for clarity, expressiveness and excitement.
A new musical imagines the all-singing, all-dancing LSD trips of Aldous Huxley, Clare Boothe Luce and Cary Grant.
Bobby is now Bobbie in this confusing, sour remake of the 1970 musical by Stephen Sondheim and George Furth.
Victoria Clark stars in a playful yet powerful musical about a girl who is aging too fast among adults who behave like children.
Digital innovation continued this year, but experiencing plays in isolation grew tiring. Then came an in-person season as exciting as a child’s first fireworks.
With a childlike sense of discovery, Stephen Sondheim found the language to convey the beauty in harsh complexity.
In Lynn Nottage’s bright new comedy, cooks at a greasy spoon dream of remaking the menu — and their lives.
Alice Childress’s 1955 play about power and race in the theater is a satire and a tragedy that deserves to be a classic.
The tabloid press and the monarchy used the Princess of Wales for their own purposes, and now a new Broadway show does the same.
Jocelyn Bioh’s new comedy about making movies in Nigeria throws some side-eye on Hollywood as well.
In this bizarrely cheery adaptation of the Academy Award-winning film, suicide among young gay people proves difficult to sing about.
A new play by Simon Stephens has hearty performances but a nearly undetectable pulse.
Anna Deavere Smith’s one-woman play about the aftermath of the Rodney King case gets a cast of five in an updated Off Broadway revival.
An electrifying revival of the 2003 musical, featuring a titanic performance by Sharon D Clarke, follows the money to the source of American inequality.
Douglas Carter Beane’s winky fantasia finds Pinocchio, Puck and other unlikely characters meeting cute in a storybook setting.
Deirdre O’Connell brilliantly lip-syncs the testimony of a woman abducted by a white supremacist in a play by Lucas Hnath.
Beneath the dry words of an F.B.I. interview, a new play unearths a world of interior terror.
Squabbling siblings, familiar stereotypes and a chorus of amens: A new play aims for the pleasures of Broadway’s traditional family sitcoms.
The exuberant queenhood-is-powerful pageant about the wives of Henry VIII was shut down on opening night by the pandemic. Now it’s back, and it totally rules.
It takes 15 minutes or less in each segment of “Three Short Plays by Tracy Letts” for the bard of male moral decrepitude to skewer his subjects.
The streaming part of the ceremony actually did a better job conveying the electricity of being in a theater than the CBS special billed as “Broadway’s Back!”
Despite an evening split between streaming and TV, the message on Sunday night was clear: Broadway is back.
For the undocumented immigrant teenagers in Martyna Majok’s unsparing, unsentimental new play, home is a heartbreaking lesson in betrayal.
If you think Ngozi Anyanwu’s new play is a straightforward romance, think again.
In the last installment in his 12-play series, Richard Nelson asks how his characters, and the theater, got where they are today.
Three new plays in experimental styles test the uptown possibilities of truly downtown theater.