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After eight years of development, a peppy musical about the value of persistence proves its own point.
The one-ton, 20-foot marionette is impressive, but the $35 million musical he stars in doesn’t even succeed as camp.
Larissa FastHorse’s theatrical debunking of the Pilgrims and Natives narrative is really a satire of theatricality itself.
As a black mother with a son in danger, Ms. Washington is up against a situation she may not be able to fix.
Steven Levenson’s new play about young ’60s radicals has the unintentional effect of making all protest seem childish.
Soho Rep continues its laudable tradition of sure-to-be-divisive plays with Kate Tarker’s word-drunk new satire of … well, something.
Samuel D. Hunter’s golden diptych, set in twin cities in Idaho and Washington, gets a riveting production, with barbecue, at the reconfigured Rattlestick.
Miranda Rose Hall’s new play about the relationship between a lesbian and a male-identified trans person grows as it goes along.
Emily Mann’s stage biography of the feminist trailblazer is more of a historical pageant than a play, but what happens at the end is riveting drama.
When a gassy essayist and a pesky researcher are forced together by a crusading editor you get a topical comedy with a lot to prove.
Donja R. Love’s fantasia on the married life of a great civil rights orator suggests the price paid by the woman who gives him his voice.
Can tiny companies thrive in the shadow of major institutions? In this theater-mad city, the question may actually run the other way.
A stripped-down, communal version of the 1943 musical reveals a great complex work of theater, with chili and cornbread included.
Bruce Norris’s new play at the Steppenwolf Theater Company applies his usual cynicism to questions of justice and vengeance for sex offenders.
Revivals, transfers and new plays that look to the past make for an unusually reflective October theater scene.
Janet McTeer plays Sarah Bernhardt as the Prince of Denmark in Theresa Rebeck’s muscular new play about gender limitation and possibility.
Craig Lucas’s play — about deafness, gayness, addiction, disease, faith and philosophy — puts a modern family to the test.
Albany politics in 1977 may not seem very scintillating. But Ms. Falco brings out the buried drama of an ambitious woman in a man’s political world.
A woman hunts for her former foster brother. Was he, like so many young black men, a victim of drugs or police or violence? Or did he just disappear?
The shape-shifting Kathryn Hunter plays 11 members of the court of Haile Selassie in Ethiopia, witnessing and regretting the revolution.
Sometimes what you think you won’t like is what you love most.
Jen Silverman’s play takes a spirited look at the emergence of women’s solidarity with the help of Sephora, Shakespeare and a well-aimed hand mirror.
Hershey Felder plays the composer of “White Christmas” (and dozens of other American song classics) in a relentlessly minor key.
They are often Broadway sensations, but jukebox musicals rarely get good reviews. We invited our critics to stop snarking and tell us what they want.
Though he remains the greatest American comic playwright, Mr. Simon was standing over a fault line in the culture that eventually pulled him down.
Jen Silverman’s harrowing “Dangerous House” and a revival of “West Side Story” join a conversation about racial and sexual violence.
A new “original” musical is usually something to welcome, but when it’s a Frankenstein monster created from spare parts, maybe stay out of its way.
With “The Tempest,” “An Ideal Husband” and “To Kill a Mockingbird,” the Stratford Festival carries on a conversation about purity and forgiveness.
August turns out to be a month for musicals, with science fiction, a Hollywood rom-com and dueling garage bands on the agenda.
The 1972 Broadway musical, closing the Encores! Off-Center season, sketches the history of the resilience of black Americans in song and dance.
Playing in repertory at the Stratford Festival in Canada, these mirror-image musicals turn out to be part of the same conversation.