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In her new play “Sovereignty,” Mary Kathryn Nagle brings together her legal activism and her family history.
In this gentle, humane show by Ping Chong + Company, young New Yorkers share their real-life victories and fears.
Stark, intricate and often exciting, the two-character chamber opera finds a prisoner tormented by the insect in her cell.
Four women have sued the company and its artistic director, Albert Schultz, accusing him of sexual misconduct and creating a “culture of fear.”
The dancer Robert Fairchild’s creature has a delicate, disarming beauty in Ensemble for the Romantic Century’s ambitious but awkward production.
If you missed the preholiday rush, fret not. There is still time for festive theater.
In acclaimed works like “The Children,” now on Broadway, the British writer argues for collective responsibility in the face of environmental and other challenges.
Three small, powerful pieces of political theater consider those wounded by racism and xenophobia.
The sprawling life of a New York titan is given superficial treatment — and set to rock music — in this show.
Twenty-five-year-old Londoner Jamael Westman has definitely come around, now that he’s starring in Lin-Manuel Miranda’s hip-hop smash.
This multimedia show, featuring the Lemon Bucket Orkestra and set during the Maidan revolution, doesn’t translate its protest anthems, which the audience is asked to join.
Cultural appropriation isn’t a worry for the director Ariane Mnouchkine, who, at 78, isn’t slowing down, but knows she won’t be here forever.
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.