1,428 stories by "Ben Brantley"
Richard Eyre's revival of Noël Coward's "Private Lives," which stars Kim Cattrall and Paul Gross, is frothier, broader and sillier than its immediate Broadway predecessor.
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"Burning," Thomas Bradshaw's Off Broadway debut, is a tale of rampaging erotic impulses and misplaced artistic ambitions, set in the 1980s and the present.
In "Hugh Jackman: Back on Broadway" the impossibly talented, impossibly energetic Mr. Jackman is a glorious dinosaur among live entertainers of the 21st century: an old-fashioned matinee ido…
Have you ever been tempted at the theater to lean toward the stage and yell at the performers, "What did you say?"
Bill Irwin pops up like a daffodil in February amid the gray slush of the Public Theater's "King Lear," starring Sam Waterston and directed by James Macdonald.
Michael John LaChiusa's "Queen of the Mist" is a musical portrait of the obsessive Anna Edson Taylor, who made her name in 1901 by going over Niagara Falls in a barrel.
Jon Robin Baitz's "Other Desert Cities" has moved to Broadway, where it has emerged as stronger, more sincere and more credible than in its previous incarnation.
Works of social conscience have been largely absent from the stage for, well decades. A recent batch of works marks a welcome change.
Karin Coonrod's rowdy production of "Love's Labor's Lost," is a streamlined interpretation of Shakespeare's early comedy about men trying to do without women " and failing.
In David Henry Hwang's "Chinglish," now on Broadway, an American businessman hoping to make his fortune in China goes through a maze of cultural confusion and linguistic blunders.
I've never really paid the sort of attention I suppose I should have to arguments about Shakespeare's identity.
"The Mountaintop," with Samuel L. Jackson as the Rev. Dr. Martin Luther King Jr., takes place the day before Dr. King was assassinated in the motel where he spent his last night.
The suffocating, esteem-shrinking Jewish mother, typically blamed as the root of all her children's unhappiness, is the center of "The Lyons," Nicky Silver's portrait of familial loneliness.
The main raison d'être of the Broadway revival of Terence Rattigan's "Man and Boy" is the occasion it gives Frank Langella to explore the pathology of power.
It's your ears that keep you awake in Robert Wilson's interpretation of Bertolt Brecht and Kurt Weill's "Threepenny Opera" at the Brooklyn Academy of Music.
Shows about shows continue to occupy a solid and special niche in theatergoers' affections.
Jeff Talbot's play "The Submission" is a perky tale of racial pride and prejudice in the theater.
Two plays in New York speak of Sept. 11 haltingly, and that's their point.
"Arias With a Twist" isn't just a pocket-size, gender-inverting version of the grandeur that was Ziegfeld; it summons a century's worth of ghosts of hedonism.
This season is bounteous with familiar characters from other chapters of dramatic literature, who were last seen in the vicinity only a decade or so ago and are being given fresh life by new…
Somewhere along the road from Washington to Broadway, the Kennedy Center production of "Follies" picked up a pulse.
In Richard Nelson's "Sweet and Sad," the day is Sept. 11, 2011, and the Apple family finds that the events of 10 years earlier cast a long shadow.
"The Select (The Sun Also Rises)" is a lively riff on Ernest Hemingway's first and greatest novel, but it never entirely wraps its mind around the style and essence of the book that inspired…
A six-person production of "Cymbeline," one of Shakespeare's less beloved plays, opened at the Barrow Street Theater on Thursday after a run at the New Victory.
