1,428 stories by "Ben Brantley"
Peter Brook brings his follow-up to "Mahabharata" to the Brooklyn Academy of Music.
Simon McBurney's astonishing one-man show, from the British troupe Complicite, immerses the audience in an aural landscape where time and space collapse.
Judith Light performs this Neil LaBute monologue about a schoolteacher racked with regret over an inadvisable decision.
This shocking play from the Philadelphia-based Lightning Rod Special troupe is about finding ways to speak to one another about an unspeakable American institution.
Nathan Alan Davis's contemplative and largely inert play depicts the famous leader of a slave uprising as a biblical martyr and prophet.
Richard Nelson portrays life in a political season as a bewildering mirage for an extended family that finds itself in reduced circumstances.
Throughout his work, Edward Albee insisted that our most primitive instincts kept asserting themselves in even the most civilized settings.
The title creatures of Conor McPherson's play "The Birds" are a surprisingly low-key lot.
Theatergoers will have two chances to check out the playwright: productions with Diane Lane and with Ms. Blanchett in her Broadway debut.
Performed by four puppet-wielding, stricken-looking men in their 20s, Eoghan Quinn's play at the Origin's 1st Irish festival is giddily endearing.
Sarah's DeLappe's exciting play about a high school soccer team creates a buzz of personalities whose thoughts and emotions move at warp speed.
This spoof from Gerard Alessandrini, the creator of "Forbidden Broadway," takes aim at "Hamilton" and its place in the battlefield of musicals.
Ellen McLaughlin, who played the celestial messenger in "Angels in America" on Broadway, brings her "Trojan Women" to the Flea Theater's resident actors.
A hip, cuddly and cunningly sadistic musical adaptation of the 1993 Bill Murray movie has just opened in London.
Productions of "Jesus Christ Superstar," "The Threepenny Opera," "Show Boat" and "Guys and Dolls" are fun and fresh diversions.
Mr. Rylance's portrayal in "Twelfth Night" is, hands down, our chief theater critic's favorite Shakespeare performance. The actor tells us how he developed the role.
Several productions this summer offer grim but engrossing plots " even the farces, which are propelled by the characters' lies, adding a sting to the laughter.
Mr. Eisenberg and Scott Elliott, the show's director, discussed the play and the differences between American and British audiences.
There isn't a man in the 10-member cast of this rollicking history pageant by Jaclyn Backhaus.
The chief theater critic of The New York Times discusses onstage politics and recommends a new "King Lear" with Glenda Jackson, among others.
At 74, as she embarks on a memoir, an album and a rare tour, the megastar is intent on correcting (the tiniest) errors and on defining her own legacy.
Plays like "Richard III" and "The Spoils" evoke the fickle alliances and megalomaniacs associated with "Brexit" and real-life politics.
Ben Brantley is covering what's happening on British stages during the next few weeks and is looking for input from audience members.
Time is a crucial element in this drama, which captures the narrative grip of J.K. Rowling's prose in a staging at the Palace Theater in London.
Eudora Welty's "Why I Live at the P.O." and the memoir "One Writer's Beginnings" are being staged at the Studio Theater at Theater Row.
