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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.
In this brief but eerie installation, one viewer and one performer, separated by glass, share the feeling of being trapped underwater.
A naïve young woman struggles with the pitfalls of intimacy in the digital age, on and off the battlefield of a multiplayer online game.
The second grouping of these excellent “Here We Are” monologues includes a raucous report from outer space and a small gem from Lynn Nottage.
Six months dark. Thousands of artists out of work. Could this disaster have a surprise ending? Five critics on what must change, onstage and off.
It was a flop, but the film adaptation of the Broadway smash turned me on to theater. And those starving artists made me want to make art too.
Theater in Quarantine’s latest small-scale, digitally savvy production is an adaptation of a Borges story about a man stopping time to stare down death.
Replete with music, masks and vibrant costumes, “Quince” and “Beast Visit” turn urban green spaces into stages for festivity.
Staying creative in lockdown means setting the scene for a cat, a baby and a garden. Plus an Instagram account that makes Mom and Dad into art stars.
Two critics square off to determine how well this body slam of a comedy, about stereotypes and storytelling, made it to the very small screen.
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.