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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.
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.