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Big Dance Theater’s animated investigation of Samuel Pepys reads like a refraction of our recent monster parade.
Theresa Rebeck’s furious play looks at what happens when a young architect fights back against colleagues who don’t take her seriously.
The Wales Millennium Center’s take on this dark, dreamy 1982 play, part of BAM’s Next Wave Festival, seems to prize atmospherics over narrative.
Mickey Rowe is thought to be the first openly autistic actor to play Christopher, a 15-year-old with autism, in “The Curious Incident of the Dog in the Night-Time.”
William Nicholson’s biodrama, is directed by Christa Scott-Reed for the Fellowship for Performing Arts.
As a Manhattan therapist, Alison Fraser may seem composed. But when she tells her story, Aaron Mark’s ghoulish monologue earns its title.
David Greenspan’s performance in the 6-hour melodrama is masterful in its clarity and endurance.
David Henry Hwang has reworked his gender-blurring, career-launching Tony-winning play to assure that it feels “resonant with the culture today.”
Diana Oh’s rambunctious show is more a concert with storytelling than a play, but that doesn’t make it any less heartfelt, joyous or necessary
Annette O’Toole plays a mother whose daughter inexplicably falls for a boasting buffoon in this classic George Kelly comedy.
Seeing Sarah Ruhl’s “For Peter Pan” reminds a critic of her own father and why she turns to theater to “confront the hard stuff,” like grieving his death.
Bringing together wrestlers, a food cart, a cellist and a bandstand, Pig Iron Theater Company takes on catastrophe in “A Period of Animate Existence.”
“Macbeth Muet” is a frolic through tragedy with puppetry, while “Makbet” is a darkly gregarious production (shots included).
The National Black Theater production of Liza Jessie Peterson’s monologue explores the personal and societal costs of mass incarceration.
Noni Stapleton wrote and stars in a solo show about an Irishwoman unsettled by life on the farm.
A plantation-set adaptation of “The Cherry Orchard” and a scatological monologue are visceral reminders of theater’s power to unsettle.
Thomas Klingenstein’s new play about an unrequited interracial love is like watching a sepia-tinged tableau.
Medora, N.D., population 132 — except in summer when 100,000 tourists pour into town to see a musical celebration of Old West values.
The playwright is preparing to return to the stage as an actor in “American Buffalo” at the Dorset Theater Festival.
Sarah Ruhl’s play, which she wrote for her mother, is about five adult siblings confronting mortality.
A program of 10 short pieces, set in and around Flushing Meadows-Corona Park, touches on tennis, dragon boats and the 1939 World’s Fair.
At the New York Musical Festival, a love story plays out in a divided Berlin, and women entangled in suburban soccer-mom life become the center of another drama.
James Smith’s solo show, part of Soulpepper’s New York residency, examines his family’s history of disorders with a striking lack of bitterness.
Howard Barker’s BBC teleplay is being professionally staged for the first time, thanks to Potomac Theater Project, which has regularly mounted his work.
Looking after her ailing husband, and the perils of climate change, are inspirations for her new play, “Singing Beach.”
This Wooster Group production, inspired by Tadeusz Kantor and his play “I Shall Never Return,” is an esoteric project that fails to connect with its audience.
Gender inequality remains a problem, but it’s heartening to see playwrights and performers argue for more opportunities.
Actresses play the brother-rivals in a lampoon of “True West” that works better on the page than on the stage.
Mr. Norris’s play, which had its premiere in 2010, is just now arriving in New York with its jaundiced view of human relations.
These writers and performers are using the warmer months to take some risks, test themselves and expand their talents onstage.
Mrs. Malaprop misspeaks outdoors when New York Classical Theater brings a lighthearted comedy of manners to Central Park.