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“Jaja’s African Hair Braiding” is a play where the Black women in the audience are the ones who feel most at home.
The playwright Renae Simone Jarrett makes her professional stage debut with a surreal reworking of a Greek myth about a river nymph.
An exploration of how faith intersects with Black womanhood, through a mix of music, movement, ritual and poetry.
For one critic, every encounter with this Shakespeare play deepens her understanding of its insights into grief, family and gender.
This immersive staging of F. Scott Fitzgerald’s classic invites audience members to join the party, but the pathos of the novel is stretched too thin.
The magician Steve Cuiffo and the playwright Lucas Hnath try to find the reality beneath the illusions in this Atlantic Theater Company production.
With a clever opening number and repeated support for striking writers, the Tonys celebrated Broadway’s shows, performers and creative teams.
A family processes its bereavement in the midst of a demonic haunting in Keelay Gipson’s new play for Bushwick Starr.
For the fragile souls in this new play, presented by Steven Soderbergh, a Buddhist group that once offered them solace loses its way.
Colette Robert’s play takes aim at antiquated rites of passage, and how they can promote classism, colorism and retrograde gender politics.
Jesse Green, the chief theater critic, and Maya Phillips, a critic-at-large, name the shows and artists who they think will win, should win and should have been nominated for this year’s T…
In a production decidedly for grown-ups, Tanya Perez’s one-woman show draws on her life as a professional clown (and occasional stripper).
Suzan-Lori Parks wrote one play a day for 13 months during the pandemic. Those stories come to life onstage in the form of monologues, dialogues and songs at Joe’s Pub.
A family of adoptees reckon with Asian American identity in this surreal play from Playwrights Horizons and WP Theater.
The musical’s creator and creative team discuss their influences, including “Days of Our Lives,” “Showgirls” and D’Angelo.
Zora Howard’s new play at the Flea catches three men during a few moments of their breathless eternity.
In Liliana Padilla’s play at New York Theater Workshop, college students find empowerment and life lessons in a DIY self-defense class.
A casually absurd play about the infamous Lizzie Borden, presented by Bedlam, cleverly undercuts the central dramatic event.
This wine-dark sea threads through Harlem, and its Ulysses, buffeted by the gods, is a soldier fighting in Afghanistan who makes a fatal mistake.
The playwright James Ijames and the director Saheem Ali built a “Hamlet”-inspired play, opening in April on Broadway, around their artistic friendship.
“She’s Got Harlem on Her Mind,” three of Spence’s one-acts, packaged together at the Metropolitan Playhouse, are filled with gender and class politics.
The one-man show means to draw the audience into a moral quandary pitting immigrants and the American poor against each other.
In three Broadway plays this season, a quest for financial stability can’t undo the trauma of the past or dismantle the architecture that places a ceiling on Black futures.
A new production of Denis Johnson’s final play showcases many of his signatures: deadpan absurdism, misfit characters, heavy drinking and statements on the bleak fact of human mortality.
Julia May Jonas’s play-as-Mass for LCT3 is imaginative, but falters as it nears the finish line.
For our critic-at-large, “Fat Ham,” “Severance,” “A Strange Loop” and “Sandman” were some of the places she found truth and transcendence.
Deirdre O’Connell shines as a modern-day descendant of an accused witch in Sarah Ruhl’s unfocused new play at Lincoln Center.
Gina Moxley’s punchy, punk-rock play counters a woman’s betrayal by her therapists, exposing the sexism in her treatment.
This Off Broadway production of Edward Albee’s drama is the first to feature a full cast of Asian American actors.
Thomas Ostermeier’s production of “Hamlet,” presented as part of the Brooklyn Academy of Music’s Next Wave festival, unleashes more madness than what Shakespeare has already offered.
John David Washington, Danielle Brooks and Samuel L. Jackson star in the first Broadway revival of Wilson’s haunting family drama set in 1936.