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With a history of the Thornton Wilder classic coming soon, we talk with performers who found personal inspiration in the play’s beating heart.
One of the founders of Mabou Mines, he reveled in being an outsider even when his celebrated “The Gospel at Colonus” reached Broadway.
A big-box store, a hotel for transgender women and a dinner party gone awry are some of the places your ears will take you to.
Tom DeTrinis’s solo show is full of rage, but in a way that’s bizarrely out of touch with this overwhelmingly disastrous year.
With their field rocked by unprecedented challenges in 2020, these people and groups — some notable, some new — stepped into the breach.
A son in New York and a father in the West Bank prepare a favorite family recipe. Longing and resentment are in the mix, too.
How do you like your celebration? Taylor Mac gives it to you dazzling and arch, while “Meet Me in St. Louis” is a nostalgic comfort.
The joy of “A Christmas Carol” isn’t merely the story; it’s the ritual of communion and reflection with family and fans. This year that’s not possible.
Charming performers, elegant design and a smart video capture bring a bittersweet chamber play about the artist and his wife to the screen.
It wasn’t the year for celebration. But watching innovation flourish inspired our chief critic, while other writers found the joys of the stage in other media.
The life of Emilia Bassano Lanier is interwoven with Shakespeare’s in a boisterous British comedy.
Connection or isolation? Intensity or escape? This spate of shows that put the watcher to work are rewarding, but often in contrasting ways.
Social distance has left us rusty when it comes to connecting with strangers. The latest piece by 600 Highwaymen aims to help us practice — starting with a call.
With a marquee creative team, this romantic musical should have been a sure bet. One great song survived the out-of-town turmoil.
Our theater experts provide a guide to some of the successful (and failed) cinematic adaptations of plays and musicals — all for your streaming pleasure.
Robin Frohardt has turned a vacant space in Times Square into a colorful installation that slyly doubles as an eco-warning. Puppets have their moment, too.
Sinclair Lewis’s 1930s novel-turned-stage play about the rise of fascism in America returns as an audio drama from Berkeley Rep.
This stylized, two-character play finds the woman whose false accusation led to the lynching of Emmett Till bound to him, and to racist myths, forever.
On the farm with Isabella Rossellini, as she readies a streaming theater piece with cameos from her animal friends.
In a few minutes or a full show, these performers capture heartbreak, fury and laughs. For the words of Samuel Beckett, a disembodied mouth did the trick.
The setting is stylish, and some tricks are nifty. But this Zoom show, which encourages audience involvement, is more scattershot than inspired.
In the dreamscape of Toshiki Okada’s play, the American philosopher is a 21st-century presence, and an author meets his younger self.
It might seem churlish to criticize productions improvising through a pandemic. But for audiences taking the chance, design makes a difference.
The Billie Holiday Theater’s brilliantly designed performance, staged for a live audience in Brooklyn and filmed for YouTube, is an urgent response to police misconduct.
Six months dark. Thousands of artists out of work. Could this disaster have a surprise ending? Five critics on what must change, onstage and off.
Thrice-delayed and now virtual, this year’s scrambled show-tune revue “Miscast” has to entertain while recognizing that casting is political.
Jonathan Groff tapping a tribute to Sutton Foster? Lin-Manuel Miranda singing Anita’s part in “West Side Story”? Watch these videos and see what’s possible.
Pairing Molière and Millay for a socially distanced audience, Shakespeare Theater of New Jersey offers light entertainment just when we need it.
In this gay haven known for its nightlife, the crowds are smaller this summer. And the nightclubs are closed. But by the pool, the show goes on.
Shaun Prendergast’s play, written to be performed in darkness, asks audiences to imagine what the “ugliest woman in the world” looks like.
Shakespeare in the Park and other outdoor venues are shut. But for performers and directors, open-air memories are as sharp as the bite of a mosquito.