38,696 stories from The New York Times
Christopher Wheeldon’s “Oscar,” performed by the Australian Ballet, is constructed with skill but is disappointingly timid.
In an ethereal costume and surrounded by puppets, Anthony Roth Costanzo sang an aria from the operatic adaptation of George Saunders’s 2017 novel.
In “Good Time Charlie,” Ryan J. Haddad pairs his own coming out story with the more fraught experience of his relative a generation earlier.
Why include traditional Georgian dance in a production of “Macbeth”? For the opera, the action director wanted something visceral: “I wanted to actually smell the sweat.”
“Tom at the Farm,” about a man visiting his dead lover’s farm, conjures a slippery rural setting at NYU Skirball.
Technical trouble stalled the opening night of the Royal Shakespeare Company’s all-male take on the comedy. But it was worth the wait.
And the spirit of the ballerina Allegra Kent doesn’t hurt. The choreographer Benjamin Akio Kimitch dives into the art of Bugaku to create his fantasy of a Japanese American court dance.
Ethan Slater and Betsy Wolfe star in “Little Shop of Horrors,” and new casts also charm in “Just in Time” and “Maybe Happy Ending.”
The musical, which underwhelmed critics but attracted audiences while touring for years, has been significantly overhauled.
Hallberg, the former Ballet Theater star, is now the artistic director of the Australian Ballet, which is bringing “Oscar,” about Oscar Wilde, to City Center.
Daniel Fish’s staging of a C-SPAN segment reveals the complex yet tender relationship between the fiery Larry Kramer and the diplomatic Anthony Fauci.
A theatrical adaptation of “Perfection” by Vincenzo Latronico leans into political critique for an audience that looks a lot like the book’s characters.
The actor, now 51, is reprising his Tony-nominated role on Broadway, as an older, wiser Washington.
In “Pithoprakta,” a rarely seen Balanchine work set to an extraterrestrial score, New York City Ballet dancers enter a new realm: “It was like nothing we had ever done before.”
The Australian theater collective Pony Cam and Israel’s Lior Tavori Dance Company were among the offerings in the final three of this year’s programs.
The actor played the role of the sweetly endearing mouse puppet, a character beloved by children all over the world — and, apparently, Ed Sullivan.
New York City Ballet hosted its annual fashion gala, this season pairing three choreographers with designers. The faux pas really added up.
There were cascading ribbons, a flower crown and a “Landslide”-inspired performance at the New York City Ballet’s annual fall fashion gala.
An overachiever who had her life mapped out hits a roadblock in Mfoniso Udofia’s haunted, surreally comic new play at LCT3.
Peck’s choreography in “Grandes Études” for the Northern Ballet shows off qualities she is known for as a ballerina: speed, virtuosity, musicality.
The show, “a live radio play,” will run during this year’s holiday season. The cast includes Andrew Rannells, Megan Hilty, Tituss Burgess, Harry Hamlin and Lisa Rinna.
Thirty-five years after the road trip movie’s release, a stage adaptation with music by Neko Case wants to be a another rallying cry for women.
Andrew Scott stars in a “Sea Wall” being captured for the screen, and “In the Heights” gets a gala revival as New York City stages approach their autumn peak.
In her play about a group of very online incels, Else Went reveals what happens to their rabid rhetoric when these people are offered love.
The president has entertained the idea of tearing down the performing arts venue. Analysts say any plan would face multiple daunting challenges.
