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She breathes, coughs and mourns, and now the cow puppet that captured hearts in the Encores! “Into the Woods” revival is on Broadway.
A young boarder’s plan to make a new life in Australia unsettles a staid British family in Elizabeth Baker’s 1909 play, revived by the Mint Theater Company.
The writer James Baldwin and the poet Nikki Giovanni are at the center of a crackling work of verbatim theater at the Vineyard Theater.
Jessica Hecht, Mikhail Baryshnikov and Chekhov himself too often get overwhelmed by this ambitious Arlekin Players Theater adaptation.
The new play, about a 15-year-old girl and her impending quinceañera, creates a fitting party vibe. If only the script didn’t clarify every cultural reference.
Josh Azouz’s vivid, nightmarish play at Astoria Performing Arts Center in Queens is a hallucinatory tale about two refugees and a talkative infant.
A cast of three recount the gripping drama of the death of a teenager by the Dutch police in 2012.
In this sweet, spoofy romp of a musical comedy, Romeo awakens from a 400-year slumber and follows a Juliet look-alike to Brooklyn.
This New York City Children’s Theater adaptation of Maya Angelou’s celebrated memoir faces the challenge of faithfully telling a story that encompasses a great deal of pain.
Live theater summons energy no digital performance can match. Set designers for five of this season’s plays explain how they built eye-catching environments that crackle with it.
Theater has always been a team sport. But this Covid-stalked Broadway season has made clear that a prize for the entire cast should be added.
From new shows like “Macbeth” and “A Strange Loop” to long-running Tony Award winners, a rundown of everything you need to know.
Decidedly anti-sensationalistic, Alison Leiby’s shrewd and funny personal monologue plays downtown. Uptown, a staged reading focuses on a gruesome case.
Mona Mansour’s rich trilogy, now at the Public Theater, follows a displaced Palestinian family.
Now starring in “Wish You Were Here,” the Iranian-born actress has made her mark in three works by playwrights of Middle Eastern descent.
In a mishmash new musical based on his 1992 movie, he charms the audience as a has-been comic reconnecting with family.
Camille A. Brown’s revival of Ntozake Shange’s 1976 Broadway landmark brings exuberant life to a play that celebrates Black women’s solidarity in the face of pain.
A new musical-comedy retelling of “The Odyssey” from the York Theater Company tries to center a powerful woman but feels like a show about and for men.
In Keith Huff’s new play, two friends head to the Jan. 6 insurrection, but this production substitutes unfunny cartoonishness for the characters’ humanity.
In this international production, you can check into the Balkan Express Motel, if you dare, and fulfill an ancient generational curse.
This early 1990s play, based on the life of Marshall McLuhan, is being revived by the company that created it.
Huang Ruo and Basil Twist’s new choral-theater piece at St. Ann’s Warehouse borrows from traditional Chinese tales.
John J. Caswell Jr.’s play is a political drama wrapped in the spooky pleasures of the horror genre.
Grief for a lost love is the unhealed wound at the core of this play by Agnes Borinsky, which takes a disquieting turn into the underworld.
Lloyd Suh’s play is a riff on the arrival of the real Afong Moy, possibly the first woman from China in the United States, and a lens on contemporary racism.
While full of fine shows, a long-awaited binge was also full of stress about how loosely audiences followed rules about staying healthy in a pandemic.
Five Asian American actors, all over 60, deliver monologues that touch on grief and heritage, on adult children and cultural cancellation.
In this D.H. Lawrence play, a production by the Mint Theater, men are trouble, “pure and simple.”
The actor will be making his New York stage debut with Jamie Lloyd’s Olivier Award-winning production, coming in April to the Brooklyn Academy of Music.
Arin Arbus and John Douglas Thompson are collaborating on their fifth play, a Theater for a New Audience production that begins previews Saturday.
The return of this brisk, smart provocation of a monologue is a cheering development, all the more so because it’s a belly-laugh funny show.