1,428 stories by "Ben Brantley"
In this futuristic drama, visitors to an online destination act out their depraved fantasies.
Rage infuses this Labyrinth Theater Company production, about a woman with a love of reading and her gun who returns to her impoverished New England home.
Tina Landau's frenzied revival of Charles Mee's 2000 play about sisters betrothed by contract to cousins is at the Pershing Square Signature Center.
The play, "All Our Happy Days Are Stupid," features a fanciful set that includes the Eiffel Tower, sidewalk cafes and hotel rooms.
Gob Squad, a media-mixing British-German arts collective, poses the big and not-so-big questions of contemporary civilization in this show.
If new Broadway and Off Broadway offerings are any indication, the road to amour is paved with politics, prejudice and the straitjacket of tradition.
Lin-Manuel Miranda's independent-minded new musical presents the 18th-century tale of Alexander Hamilton via hip-hop and R&B ballads.
The Scottish dramatist David Greig has written a solemn and searching work about a faith-shattering act of violence.
Stephen Adly Guirgis's play, which opened at the Atlantic Theater Company in August, reopened at Second Stage's Tony Kiser Theater.
"Three Winters," a time-traveling tale about a Croatian family, and "The Changeling," a revenge tragedy performed in candlelight, are expressly theatrical endeavors, fully realized here.
"Between Riverside and Crazy," a constantly surprising play by Stephen Adly Guirgis, returns to New York.
Two plays mirror the news, as reflections on the Holocaust and the persistence of anti-Semitism in Europe have surfaced frequently in print and on the web.
"Liberian Girl," a debut play by Diana Nneka Atuona, forces its audience to confront a violent coming of age.
In just a few days Ben Brantley sampled a rainbow spectrum of comedies, "My Night With Reg," "The Play That Goes Wrong," "The Ruling Class" and "Golem."
The playwright's first new stage production in nine years provides a lot of food for thought on the murkiness of a chaotic universe.
"King Charles III" and "The Ruling Class," both playing in the West End, are responses to Britain's enduringly ambivalent obsession with its aristocracy and royal family.
The innocently murderous child at the heart of "Let the Right One In" is nothing like the beautiful It vampires who slither across screens in movies like the "Twilight" series.
Fiasco Theater's reworking of "Into the Woods" uncovers the aching, hopeful heart beneath the artifice.
The course of true love runs on parallel roller-coaster tracks in the new Broadway musical "Honeymoon in Vegas," starring Tony Danza.
Using projected scenes from Marlon Brando films, a Spanish performance group deconstructs the 2008 economic crisis.
"Constellations," starring a perfectly matched Jake Gyllenhaal and Ruth Wilson, may be the most sophisticated date play Broadway has seen.
Tina Satter's "Ancient Lives" sort of follows the format of Grimm's fairy tales, but don't expect to find Rapunzel and Cinderella and their respective princes in residence.
Target Margin Theater's "Reread Another," an adaptation of a 1921 play by Gertrude Stein, finds the fun " and the meaning " in Stein's seeming nonsense.
Two productions in the Under the Radar festival, "Cineastas" and "O Jardim," consider the gulf between images and the truths they obscure.
"Sorry Robot" at the New Ohio Theater is a gleeful, ramshackle tale of a not-too-distant future in which machines are both our best friends and mortal enemies.
