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In Lauren Gunderson’s issue play, Pascale Armand plays an insurance agent in a risky scenario.
The highly physical Irish actor Aaron Monaghan came late to Beckett, and is young to portray Estragon. But the role fits (even if the shoes don’t).
The novelist’s first play, “Happy Birthday, Wanda June,” is proving its resonance — and some nights, too much so — in a timely new revival.
Ming Peiffer’s new play shares the same youthful female-centric world of Sarah DeLappe’s soccer play, “The Wolves.”
Theater artists who carry on the tradition of “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf” honor their inspiration.
Ms. Shange’s play featured seven black female characters named for the colors of the rainbow and inspired generations of playwrights.
Adam Gwon’s chamber musical about four New Yorkers is being revived Off Broadway in a production by Keen Company.
A white liberal historian and a frustrated African-American student make a combustible combination in Eleanor Burgess’s play.
It’s 1963 again, and this chamber musical packs all the heartbreak and bliss of love in a Village gay bar of the era.
The heroine’s impossible position could hardly be more sympathetic or central than in this Pushkin Theater Moscow/Cheek by Jowl staging.
It took persuading, but Jez Butterworth wrote his new play for his partner, Laura Donnelly, both to honor her history and give her a great part.
Three eras, three plays drawn from real life. But the same old double standard.
Bess Wohl’s new play is a regret-tinged examination of sibling connections that maybe, back in those formative years, were not forged solidly enough.
This experimental docudrama at La MaMa charts the history of the National Endowment for the Arts and argues for its continued importance.
In Catya McMullen’s tender and funny play, a brother with Asperger’s syndrome seeks connection as his overprotective sister’s relationship flounders.
In “Gloria: A Life,” Ms. Steinem will be portrayed by Christine Lahti, who isn’t shy about making suggestions about moments that belong in the script.
Yes, household objects stand in for famous characters. But in the hands of master storytellers, these condensed versions can cast a spell.
Ensuring that “I Was Most Alive With You” was accessible to both hearing and deaf audiences made rehearsal dauntingly complex — and a little confusing.
The play, set in 1914, is staged as if in a London air-raid shelter in 1940. It’s an ungainly frame for this crisp comedy.
A community reels after a young father is killed by police in Geraldine Inoa’s unsettling play.
The National Asian American Theater Company puts on a fast-paced and unusually lucid staging of the bloody history play.
The creators of this folk-rock musical about the second man on the moon want us to sympathize with his emotional wound.
This dementedly daffy piece of fun, from the theater company TV, will give you a warm glow in the fleeting moment it’s here for a brief run.
The Mint Theater Company’s revival of Lillian Hellman’s 1936 play is a mishmash of acting styles, tonally uneven and frustratingly unfocused.
A production with same-sex leads is one of many signs that directors are approaching the Rodgers and Hammerstein classic with new eyes.
Jonathan Leaf sticks close to historical fact in his ambitious new verse play, but the action in this production always feels removed, like a diorama.
A play based on a confessional, self-obsessed woman’s memoir — from the 15th century — is back, at the Duke.
Following “The Originalist,” the judge talked fondly about its subject: her frequent legal sparring partner Antonin Scalia.
But, racing through 40 classic Leiber and Stoller songs in 90 intermission-less minutes, the show only occasionally slows down enough to breathe.
A show set inside a smartphone is silly, yet surprisingly resonant with contemporary politics.