Close Login Box
Keenan Scott II’s play, incorporating slam poetry, prose and songs, aspires to be a lyrical reckoning with Black life in America.
In Tiago Rodrigues’s show, audience members learn a Shakespeare sonnet together — line by line, over and over.
Ruben Santiago-Hudson brings his tender and vibrant autobiographical show to Broadway, honoring the woman who not only raised him but also kept a cast of misfits in line.
The Bedlam theater company returns with another adaptation of Jane Austen, but the production misses all of the source material’s subtle wit.
The African Theater, which had its first performance on Sept. 17, 1821, is both an inspiration and a cautionary tale.
John Pollono directs and stars in an adaptation of his play that adds depth to the original text but also struggles in its translation from stage to screen.
In new musicals about Princess Diana, Cary Grant and Michael Jackson actors get a chance to embody icons while spotlighting their individual talents.
These worthy and adventurous lockdown experiments too often give short shrift to the relationship between a script and how an audience takes it in.
The neon lights are bright, and so is the spirit of this brief but loving history of Broadway.
The annual summer festival in Massachusetts has tried to adapt amid the pandemic and calls for more diversity onstage.
Harold Pinter’s one-act play, starring Daniel Mays and David Thewlis as hit men, is available to stream live via the Old Vic Theater.
Our critic reflects on the significance of Aleshea Harris’s play, at BAM Fisher, for Black audiences.
The collaborative project conceived by Lynn Nottage is too heterogeneous and muddled to rally around one clear theme or concept.
This array of short plays has viewers in headphones wandering the meatpacking district for stylish, but shallow, theatrical thrills.
James Ijames’s amusingly cynical and eclectic new play, “The Most Spectacularly Lamentable Trial of Miz Martha Washington,” is at the Hudson Valley Shakespeare Festival through July 30.
La película, ambientada en un barrio neoyorquino conocido como la Pequeña República Dominicana, no incluyó a latinos de piel oscura en los papeles principales. Críticos y reporteros del…
The film, set in a New York neighborhood known as the Little Dominican Republic, didn’t cast dark-skinned Latinos in lead roles. Our writers discuss how that absence reverberates.
Raja Feather Kelly’s “The Kill One Race” and “This American Wife” exist in a realm between, changing our relationship with what we witness.
A new virtual reality experience in Williamsburg marries wondrous production values with banal narratives.
This HBO documentary follows Andy Señor Jr. as he directs a production of “Rent” in Cuba.
The play is a wild genre-bending parody of, and homage to, “The Real Housewives” franchise.
Twelve exquisitely designed installations capture the fears, hopes and reveries shared on audio by 12 women playwrights.
Michel Marc Bouchard’s melodrama, about an illicit gay love affair in 1912, displays a lot of kookiness and little self-awareness.
With four actors and a contemporary setting, Bedlam offers an audacious, if half-baked, take on the Schiller play about the fate of Mary, Queen of Scots.
Exquisite Corpse Company’s clever choose-your-own-adventure play has a handful of viewers peek in on a Brooklyn couple in really close quarters.
Live performances via Zoom mix with actual game footage in this well-intentioned but preachy play by the poet Darrel Alejandro Holnes.
A lusty new production is both an enticement and a warning as we tentatively explore intimacy after a year of forced solitude.
In this clever show, audience members join a “neighborhood” and lobby for how its discordant residents should to spend a chunk of community money.
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.