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Josh O’Connor and Jessie Buckley star as the star-crossed lovers in a compelling stage-film hybrid adaptation.
Erika Dickerson-Despenza’s play about Black women struggling to survive Hurricane Katrina gets an ear-tingling podcast production.
The monologuist appeared onstage, indoors, in front of a real audience, on the first day possible. Maybe he shouldn’t have rushed.
Fifty years ago, Stephen Sondheim and James Goldman exploded the Broadway “concept” musical by conjuring the bittersweet reunion of aging showgirls.
In the 50 years since the musical’s debut, revivals and concerts have served its great songs to great stars. Who’d be our Broadway babies 25 years from now?
Liza Birkenmeier’s new play about a shape-shifting teenager makes a fitting contribution to Theater in Quarantine’s revamp of the avant-garde.
Arts workers are protesting closings and occupying playhouses all over France. On Broadway, that drama has yet to open.
An uncanny new play imagines Meghan (and Kate, too) trapped in a nightmare palace where racism reigns.
Because of pandemic restrictions, a performance piece about refugees requires you to draw on yourself, in both senses
The tragedy of racism is only part of the story in two very different plays from London that carry a dimension of meaning not usually seen in this country.
A sparkling new recording of the 1964 musical makes half the case for Stephen Sondheim’s endlessly inventive score.
Four not-very-believable characters in a chain of monologues are rescued by a cast of exceptionally believable actors.
Samuel Bailey’s knockout professional debut isn’t so much about the pipeline to incarceration than about the toxic masculinity that keeps it flowing.
At home in the footlights, he knew the power of charm and every trick of the stage trade. But even after a celebrated “King Lear,” there was more to play.
Three new revues offer war horses, showstoppers and standards — but, even better, rarities.
All Ryan J. Haddad wants is a boyfriend. But his pride — or is it his prospects’ prejudice? — keeps getting in the way.
Pandemics and ordinary tragedies clash in Lauren Gunderson’s overwrought portrait of her husband, the virologist Nathan A. Wolfe.
With minimal rehearsal and production values, online events are becoming a distinct (and worthy) new genre of theater.
Pundits have likened the president to Lear, to Hamlet, to Macbeth, to Coriolanus. That may have been four years of wishful thinking.
Forget tragic lovers. At the Public Theater’s Under the Radar Festival, fast cars and other luxuries fuel tragedies about the love of things.
What started as a TikTok meme and became a crowdsourced musical could have online lessons to offer for Broadway.
A big-box store, a hotel for transgender women and a dinner party gone awry are some of the places your ears will take you to.
With their field rocked by unprecedented challenges in 2020, these people and groups — some notable, some new — stepped into the breach.
Not for decades have so many plays and musicals been turned into movies. But even in the best of the new crop, a lot gets lost in translation.
In Heather Christian’s “I Am Sending You the Sacred Face,” the saint of Calcutta vogues and lip-syncs and broods on the nature of selflessness.
In his latest magic show, Helder Guimarães shuffles an old genre into a new technology with mixed results.
Nine months covering a devastated art form have changed one critic’s habits, and tastes.
Serious new plays are always in danger of disappearing — never more so than now. But inventive virtual productions, such as “The Wolves” and “Heroes of the Fourth Turning,” offer h…
Audra McDonald stars as Blanche DuBois in a radio-like production of the Tennessee Williams classic that still has a way to go.
It wasn’t the year for celebration. But watching innovation flourish inspired our chief critic, while other writers found the joys of the stage in other media.