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The epicenter of New York’s AIDS epidemic, St. Vincent’s (1849-2010) is the subject of a memorial service that’s also a play.
A new play argues that no one knows more about Shakespeare’s great tragedy than a man “born black in America.”
Seven of this season’s Broadway and Off Broadway shows come from an eight-week theatrical powerhouse in Williamstown, Mass.
A new musical about a Filipino faith healer bringing “psychic surgery” to America expands the frontiers of the form.
With shrewd casting and amateur performers joining professionals onstage, a middling 1997 animated Disney musical becomes a pageant of civic engagement.
Bess Wohl’s daring, mysterious new play is a comedy of underparenting and a tragedy of selfishness. Or is it the other way around?
A sumptuous Ibsen revival starring Uma Thurman and a knockout premiere by Adam Bock close the Williamstown season with a metaphysical “boo!”
How does who you are affect how you see this Pulitzer Prize-winning drama? Two critics finally have the talk.
As a lowly apprentice on a notorious flop, I got to see how the “Dark Prince” achieved his effects and cut his losses.
Better known for its classics, the Stratford Festival has long presented fine-tuned versions of Broadway musicals. This year: “Billy Elliot” and “Little Shop of Horrors.”
A follow-up to the startling and divisive “Nanette” is just as startling and probably just as divisive.
An Encores! Off-Center revival reveals the tantalizing cleverness and intractable faults of the 1997 (and 1999, 2003, 2004 and 2008) musical.
Annie Golden stars in a musical B-movie pastiche that lands in the gap between tribute and spoof.
This season’s wide-ranging offerings, including Shakespeare and “Little Shop of Horrors,” reveal the surprising root of our longest-lasting stories.
Halley Feiffer’s “Moscow Moscow Moscow Moscow Moscow Moscow” turns the master’s refined Russians into “Mean Girls.”
How did a lush throwback like “People Will Say We’re in Love” become the lean, sexy, countrified number being sung today? Follow along as we break it down.
A new work — and revivals of a classic play and musical — are having a conversation about different kinds of incarceration.
In a memory play with songs, the monologuist David Cale recreates the chaos of his youth in a rough town and a violent home.
The world premiere “kung fu musical” at the Shed isn’t much of either.
April Matthis’s sensational performance anchors Lydia R. Diamond’s play about the first woman of any race to appear in a professional baseball game.
Despite its top creative team, an adaptation of the popular Sue Monk Kidd novel feels like a first draft.
A delicious production of the great Shakespearean comedy starring Danielle Brooks and set squarely in our #MeToo and Black Lives Matter moment.
Swinging lights. Broadway beefs. Words of wisdom. And a restroom serenade. If only some of the highlights were on TV.
For decades, our photographers have gotten intimate access backstage. Peek in as they capture stars, before the show and before the mirror.
Based on real events, the Steppenwolf Theater Company’s new play tells the story of a Chicago drag queen who throws her fabulous hat into the ring.
Working opposite ends of the volume spectrum, two musicals, the new “Six” and a reinterpreted “Next to Normal,” find their levels.
Audra McDonald and Michael Shannon star in a touching revival of Terrence McNally’s play about first and last chances.
There’s plenty to enjoy in this adaptation of a 1984 movie set at a Long Island beach club. But plenty to fix, as well.
A new adaptation of “The Oresteia” reminds us that a 2,400-year-old work can still feel appallingly familiar.
Now in its third year, this Broadway hit has grown up by aging down.