38,745 stories from The New York Times
For her latest autobiographical work, Mona Pirnot collaborated with Jack D. Coen on beautifully composed classical song-cycle.
The actor says he is no more tragic than anyone else, but in the one-man play “Sea Wall,” he’s the soul of a sadness machine.
Bradley Whitford, Tom Blyth and Krysta Rodriguez are starring in a revival of Aaron Sorkin’s breakthrough, “A Few Good Men,” at Lincoln Center Theater.
At 21, Brady Farrar, a child star for a season of reality television, is the youngest person to have choreographed a dance for the American Ballet Theater.
The National Ballet of Canada celebrates a landmark anniversary with solid accomplishments, a new leader and some of its founder’s original chutzpah.
At Target Margin Theater, a collaboration between Westwood, a choreographer, and Negrón, a composer, had its premiere, but both sides seemed hemmed in.
A musical adaptation of the F. Scott Fitzgerald short story has been in the works for nearly 10 years. Now it is making its U.S. debut at the Public Theater.
As a fan favorite on “Dancing With the Stars,” Stiles is “down for anything,” says her partner Ezra Sosa, including engaging with her early-career movies.
As the original cast reunites for a 30th anniversary concert, the Jonathan Larson archive continues to shed light on the enduring Broadway musical.
“The Amish Project,” a solo show, is inspired by a massacre that took place minutes from Groff’s childhood home. He will bring it to Broadway in February.
Bill Irwin, who may well be our greatest living clown, stars in his own adaptation of Molière’s 1673 play about a domineering hypochondriac paterfamilias.
His rugged good looks, commanding presence and versatility led to key roles in “M*A*S*H” and “Steel Magnolias,” and he won an Emmy on “Picket Fences.”
“This World of Tomorrow,” co-starring Kelli O’Hara, will come to Broadway next fall.
Our reporter met some of the people waiting for free tickets to see the British playwright’s newest microplay at the Public Theater in Manhattan.
The actor revisits his annus horribilis, and what came before it, in a warm and very funny solo Broadway play.
Todrick Hall’s overstuffed quasi-opera is beautifully sung but discombobulated, while a cutesy Fitzgerald adaptation has a talented cast but lacks depth.
New York City Ballet’s fall highlights included the return of “Pithoprakta,” the magic of Mira Nadon and the farewell performance of Adrian Danchig-Waring.
Though the actor has long been a welcome screen presence, this is his first starring role in years. “To carry the whole thing, that’s a big responsibility.”
Milo Cramer’s excellent lo-fi song-cycle and Eliya Smith’s verbatim play about a notorious video both reveal how young minds are made.
Mr. Riehle, best remembered for playing an anxious character with “people skills,” built a career in theater, TV and film that lasted more than half a century.
The playwright Lauren Yee paints an amusing portrait of a Chinese American father-daughter relationship before taking audiences on a delightfully wild ride.
Nearly five decades after the disease first appeared, many filmmakers, writers and others are finding new meaning in catastrophe.
Jon Robin Baitz’s 2010 family bash-em-up gets an uneven Broadway revival, with a cast that also includes Allison Janney at her droll, insulting best.
An actor, producer and director, he also managed several theater companies. But he was best known for his performances in works by Samuel Beckett.
In “Pithoprakta,” a rarely seen work by George Balanchine at City Ballet, Suzanne Farrell brings a tense and eerie dance back to life. It’s a laboratory for new movement.
