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Casting Black actors and filming in a claustrophobic New York apartment revitalizes Jason Robert Brown’s popular two-character musical.
At the Yale School of Drama, the playwright Jeremy O. Harris found the kind of classmates that you can trust with your first drafts.
The autobiographical solo show from Daniel J. Watts shows off his skill with spoken word and dance, but doesn’t add up to more than the sum of its parts.
Stimulating and immersive — yet actor-free — this audio adaptation of the Saramago novel brings the terror of an epidemic into your ears.
It’s easier to find meaning in fiction than in the senseless mass killings of our reality, which seem to render the critical perspective pointless, even silly, at times.
Keli Goff’s series of vignettes feature Black women recounting how their hair affected their school lives, relationships or careers.
Oscar Wilde meets Instagram in a slick, shrewd and screen-filled update, the filmed collaboration by five British theaters.
This new franchise installment, “Sponge on the Run,” wants to be clever in nodding toward genre conventions. But its execution is poor.
A fund-raiser, a tribute, a documentary — and a reminder that Jonathan Larson’s musical remains especially inspiring in hard times.
This audio series translates the Greek myth of Perseus for teens, making its hero a young man still figuring out his destiny.
Patrick Page writes and stars in a meditation on the Bard’s villains, moving swiftly through a catalog of characters as if he were a chameleon.
A breakneck performance by Joseph Potter as an embittered former prodigy carries this unnerving monologue from Philip Ridley.
Sibyl Kempson’s unruly audio play takes Mary Shelley and her famed creation from old England to contemporary America. Bigfoot shows up, too.
As she packs her things to make a move, a critic lingers over her memories, many slickly packaged, some not.
A digital four-play retrospective, capped by a world premiere, illuminates this writer’s fascination with doubling, violence and Black identity.
Short, sharp and often funny, the work featured in the “Playing on Air” series can even make vacuuming a pleasure.
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.
Brave Spirits Theater expected to mount an ambitious cycle of eight history plays. Instead it became yet another victim of the pandemic.
An elaborate production streamed live from London makes a miser out of Andrew Lincoln and the rest of us rich with holiday cheer.
“A Christmas Carol” is a favorite of Maya Phillips, but this year, she writes, she found in it “a timely study of what it truly means to be a decent person in a community.”
Perhaps no playwright has asserted the richness and complexity of everyday Black lives and language so deeply. Now, two screen projects affirm his legacy for new audiences.
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.
With fewer guests at the table this Thanksgiving, theatrical reminders that food, drink and reminiscence can unsettle as well as comfort.
Drawing on interviews with soldiers and classical texts, Theater Mitu’s experimental collage is visually absorbing but thematically fuzzy.
Five Black women narrate a filmed rendition of Claudia Rankine’s heady play, which was rethought after an initial version was shut down by the pandemic.
Irish Repertory Theater’s ambitious virtual rendition of the O’Neill drama finds a family trapped by a father’s grandiose illusions.
Grooming a naïve maiden to be an obedient bride is bound to fail, or at least be sorely tested, when Molière spins the love story.
Performers share fragmented reveries in “Electric Feeling Maybe,” while “Voyeur” brings a touch of Paris to the West Village.
Airships float by, avatars sing and the audience is the jury in this visually enticing but overstuffed steampunk experiment.
A look back at the band’s 15-year-old debut, “A Fever You Can’t Sweat Out,” a commercial success that simultaneously satirized and celebrated staged spectacles.
This comic short about an actor and his kids staging Greek tragedies under lockdown slyly comments on links between the politics of the family and the state.