38,717 stories from The New York Times
John Turturro, Tatiana Maslany and Tony Shalhoub will star in a spring production of the satirical Ionesco drama.
Jocelyn Bioh’s “School Girls; or The African Mean Girls Play” has audiences laughing, but also wrestles with weighty topics like colorism.
Verdi’s adaptation of the Shakespeare tragedy comes to movie screens around the world. And “Rent” holds a 30th anniversary concert.
The playwright tries to strike a middle path in this comedy about QAnon far-right conspiracy theories, which stars the reliably zany Crystal Finn.
Ellen’s Stardust Diner, where the staff has been belting show tunes for decades, faces fresh competition from a 24-hour newcomer just a block away.
The comic strip is surprisingly revered by some comedy writers and cartoonists, including Tom Gammill, whose credits include “The Simpsons” and “S.N.L.”
Tilda Swinton (in “Man to Man”) and Billy Crudup and Gillian Anderson (in “Who’s Afraid of Virginia Woolf?”) are among the titans making a meal of London.
HB Studio, founded in 1945, has serious financial woes and is in disrepair.
For many ballet dancers and former students, love of the art form endures even after they stop dancing. Ballet Salon was founded as a place for them to practice and perform at a high level.
After a hot-ticket comedy club run last fall, Andrew Fox and Joel Sinensky’s satirical musical, spurred by a tweet about Anne Frank, resurfaces Off Broadway.
Regan Hutsell has been a Rockette, a ballet dancer and now Miss America. “Dance taught me how to be adaptable without changing the essence of who I am,” she said.
Joey Arias and Basil Twist have resurrected their trippy 2008 hit, “Arias With a Twist.” Just don’t call it drag.
Adrian Danchig-Waring wasn’t sure he would walk again after a harrowing illness, but he returned to dance, better than ever. Now the City Ballet principal bids farewell.
“The Popinjay Cavalier,” directed by Tarantino, is scheduled to open for previews in London’s West End in February.￥
Christopher Wheeldon’s “Oscar,” performed by the Australian Ballet, is constructed with skill but is disappointingly timid.
The director and writer Aaron Sorkin explains how he evolved the character of Mark Zuckerberg in the film “The Social Reckoning.”
In an ethereal costume and surrounded by puppets, Anthony Roth Costanzo sang an aria from the operatic adaptation of George Saunders’s 2017 novel.
The writer and director explains how he evolved the character of Mark Zuckerberg in the sort-of sequel to “The Social Network.”
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.
Aaron Sorkin’s latest movie is about how social-media platforms like Facebook have rewired our brains and the larger world.
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.”
