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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.
For Soulpepper Theater Company, putting on 30 productions at home won’t do this year. The Toronto troupe is also programming a New York theater center for July.
For an adaptation of “The Bacchae,” the Stratford Festival hired Tonia Sina, who teaches a codified method of approaching onstage intimacy.
After a bracing revival of “The Glass Menagerie” this spring, and last year’s “Othello,” Mr. Gold takes on another Shakespeare drama.
One actor and an illuminated toy theater bring ‘A Hunger Artist’ to bitterly comic life.
The immersive new eco-play “(Not) Water” has been in the making since Hurricane Katrina.
An evocative production of Charles Mee’s play features disabled actors on a set that seems reassembled from the drawings of James Castle.
Scott McPherson’s play, a deathbed comedy that premiered Off Broadway in 1991, is inextricable from his struggle with AIDS.
Mr. Malloy’s “Natasha, Pierre & the Great Comet of 1812” is up for 12 Tonys. His studio whiteboard suggests how that came to be.
Ariel Stess’s cockeyed social-justice comedy opens Clubbed Thumb’s summer festival of new plays.
The 36th Marathon of One-Act Plays: Series A, produced at Ensemble Studio Theater with the Radio Drama Network, is off to a rousing start.
Three productions this spring matched the playwright’s audaciousness with exhilarating visions.
Ms. Majok, who grew up in working-class New Jersey, has fleshed out her short work “John, Who’s Here From Cambridge” into a larger piece.
Half immersive spectacle, half cabaret, this satire is a provocative and unnerving exploration of American racism.
O’Neill’s Civil War-era Greek tragedy is infused with new relevance in a production directed by David Herskovits.
The Public Theater’s Mobile Unit winds up its five-borough tour of Shakespeare’s comedy about mistaken identity.
Boris Akunin’s take on Shakespeare’s broody prince is full of intrigue, but it often feels like a “Hamlet” highlight reel.
Ms. Wiest plays the beleaguered but unbowed heroine of this Beckett comedy.
Live performance is a most direct way to make the fear and heartbreak palpable.
It takes nerve to follow up on Ibsen. But “A Doll’s House, Part 2” is hardly the first Broadway show to check in with beloved characters.
This Pulitzer-winning playwright finally gets her due, with a retelling of a controversial 1923 play that featured Broadway’s first stage kiss between two women.
A young couple’s engagement brings cultural tensions to the surface between secular and fundamentalist families. Yet not all is as it seems.
After a lonely upbringing, Obi Abili made his way to acting. Now he’s winning raves off Broadway in the title role of “The Emperor Jones.”
The new play by Martin Sherman concerns an intergenerational romance between men played by Harvey Fierstein and Gabriel Ebert.