38,791 stories from The New York Times
Joanna Kotze’s “this is the beginning, this is the end” is a high-strung evocation of cyclical turmoil.
For his inaugural season as general director, Baptiste Charroing is channeling the Théâtre des Champs-Élysées’s iconic past.
The Neil Simon comedy will begin performances in March; the cast will also include the Tony winners Laura Benanti and James Monroe Iglehart.
Cherrie Yu’s “Daily Diversions” draws attention to the formal and rhythmic properties of the sport while exploring her own history with it.
Chastain will portray an actress with dementia whose most vivid memories are of rehearsing for the title role in “King Lear.”
He missed out on several major film roles, but found steady work in the theater, on TV and in movies.
A London revival of Caryl Churchill’s satirical 1979 play leans into the exuberance of self-discovery, even as its era of anything-goes hedonism has, in many ways, past.
One couple fights for swimming pool integration, and their daughter walks away from the battle, in Christina Anderson’s pensive play.
In New York City, experience a live radio play, a Nicole Kidman-inspired “Christmas Carol,” an interactive production for children and more.
When she’s not going viral for her “Fiddler on the Roof” performance, the singer and actress can be found eating lots of Italian food.
Natalia Osipova is playing another ballerina, Lydia Lopokova, in “The Standard of Living” about John Maynard Keynes in London.
This frustratingly erratic play, by Tarell Alvin McCraney and Tina Landau at Vineyard Theater, revisits a Chicago drag queen’s 1992 presidential bid.
At the center of this docudrama are the archivists researching a photo album depicting the daily lives of the officers and others at the Auschwitz death camp.
Pam Tanowitz’s new work for Paul Taylor Dance Company acknowledges the context of Taylor’s work while extending Tanowitz’s own history.
Neil Greenberg, a contemporary choreographer with exacting craft and an indomitable spirit, presents his latest work at the Chocolate Factory Theater.
The musical, rooted in the writer Angelica Chéri’s family lore, follows Black twin sisters who pass for white and become vigilantes in 1890s Texas.
In this confident and delicate new play by Dan Giles, a brother and sister give anticapitalist absolutism the old college try.
The company’s resident choreographers, Lauren Lovette and Robert Battle, showed new dances at Lincoln Center. As usual, Taylor’s works flattened them to bits.
Lauren Ambrose plays the mother of a missing teen in “The Unbelievers,” and Jasmine Cephas Jones plays a mother hearing spooky sounds in “2:22.”
With the community-theater comedy “The Debut” coming soon, five, six, seven, eight your way to these films about stage-struck amateurs.
On a domed screen in Detroit, New York City Ballet’s production of “The Nutcracker” began a new, immersive chapter.
Two theater pieces that drill down from the polite society of the intelligentsia to the most primal animal urges, with acknowledgments to Freud.
The actress has stepped into Genie’s famous blue velvet costume, bringing a new dynamic to the role.
The choreographer Benjamin Millepied is presenting a season at the storied Parisian theater. “It’s so alive and it’s a place to do something for a broader public.”
He helped turn the Bard’s canon into a three-man, 97-minute comedy, then worked as a Disney Imagineer. He was 66.
