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A Seeing Place Theater production and a Play-PerView reunion reading by the 2007 Cherry Lane Theater cast bring out different aspects of Amiri Baraka’s famous play.
Source Material presents a postmodern approach to talking about grief and isolation in quarantine.
Electric performances, led by André Holland, transcend didacticism in an audio rendition that replaced a Shakespeare in the Park production.
Efforts like ‘The Oedipus Project’ are worthy, but in an attempt to draw contemporary parallels, they can misread drama and mislead about the present.
Animated shows are finally moving away from letting white actors play characters of color. But even well-intentioned efforts at increasing diversity create complications.
Our critics discuss the last four months, which thanks to Zoom (and Meryl Streep) have been full of experimentation and playfulness.
Anchored by a charismatically off-kilter performance, this one-woman show asks viewers to judge a young Russian accused of a crime of passion.
From the documentary works of Anna Deavere Smith to brief monologues written in this moment of unrest, dramatists are sounding an alarm.
Despite charming performances, a Culture Project production works too hard bringing a delicate novella to the stage.
A solo stage adaptation of Paul Muldoon’s poem considers whether making art can offer solace in the wake of grief.
The neighborhood is referrred to constantly, insistently, but doesn’t come to life in Pearl Cleage’s play about a nightclub singer from the 1930s.
Donnetta Lavinia Grays is winningly uninhibited in her fable-like solo show about a community seduced by a mysterious benefactor.
Edward Einhorn’s playful play takes on a lot: his scientist grandfather, his aging mother and his own doubts about putting their lives onstage.
Eric Tucker updates the allegorical play about the Salem witch trials, directly implicating the audience in its examination of mass hysteria.
An immersive play crossed with an art installation offers sharp angles on race and white supremacy, but is dampened by didactism.
Tawni O’Dell set herself a bracing challenge: Writing and reliving her family’s trauma onstage. But it’s more than the novelist can pull off.
Friends and family about to be left behind when a young man goes to college reckon with a world of narrow choices in Chad Beckim’s play.
Mr. Sunshine is one of the rare Westerners to become a master of the centuries-old Japanese comic storytelling form.
A barbed comedy takes a grim turn when friends find themselves tested over how far they’ll go to defend their choices and protect their children.
Chisa Hutchinson’s earnest morality play spends time with a Newark schoolboy and the brusque cafeteria worker he befriends.
In this stage memoir, Chesney Show struggles to balance a powerful personal story with historical heft.
This “Lysistrata” update at the Flea Theater is consistently lively, but its comic aims are scattershot.
This retelling of the ancient Greek queen’s plight, set in the modern Midwest, is hilarious until it takes a grisly turn.
The show features jazz, blues and country music from Allan Harris, who also plays the title character.
The National Yiddish Theater Folksbiene show is at once a rapid-fire revue and a textbook chronology of Jewish history in New York.
A man who lost his family in a plane crash funnels his grief and despair into a quest for revenge.