1,121 stories by "Charles Isherwood"
Antony Sher is Falstaff in the Royal Shakespeare production of the two parts of "Henry IV" now underway in London.
In taking over a role originally played by Jimmy Nail, the rock star Sting takes a more subdued approach in "The Last Ship."
"Behind the Beautiful Forevers," David Hare's stage adaptation of the best-selling book by Katherine Boo, makes its premiere at the National Theater in London.
In "Assassins," at the Menier Chocolate Factory in London, set in a carnival in some backwater of hell, you may find yourself staring down a gun barrel.
Charles Isherwood's Top 10 in theater reflects year noteworthy for the diversity of its subject matter and for the originality of its writing and staging.
Kristin Scott Thomas plays the emotional lead in "Electra," the Greek tale about a woman and familial revenge.
Ayad Akhtar's "The Invisible Hand," at the New York Theater Workshop, examines the relationship between the power of the almighty dollar and modern terrorism.
In "The Illusionists" at the Marriott Marquis Theater, seven magicians perform with the accompaniment of a band, laser beams, digital video screens and more.
"Send for the Million Men" uses original text, historical documents and "spontaneous storytelling" to explore the stories of Sacco and Vanzetti.
A semi-staged version of the Stephen King-John Mellencamp musical, "Ghost Brothers of Darkland County," stopped in New York on Monday during a national tour.
"Little Dancer," the new musical directed and choreographed by Susan Stroman, features a ballerina with street cred.
In Sharyn Rothstein's "By the Water," a couple whose house was destroyed by Hurricane Sandy have to decide whether to rebuild or move away.
In "Straight White Men," personal issues come to the surface when a widower and his three sons gather for the holidays.
"Everybody Rise: A Celebration of Elaine Stritch," brought out the bright lights of New York Monday night in tribute to the longtime star who died in July.
Being a freak is virtually the new normal, so the timing couldn't be better for the thrilling Broadway revival of "Side Show."
In "Our Lady of Kibeho," a girl's visions of the Virgin Mary spread beyond her Rwandan village school.
"Grand Concourse," by Heidi Schreck, goes behind the scenes at a soup kitchen in the Bronx.
"Basetrack Live" draws from video testimonials, photography and a website to recount the experiences of Marines in Afghanistan and their families stateside.
A man and a woman, both facing crises, keep slightly uncomfortable company in David Auburn's small-scale and sleepy new play, "Lost Lake."
In "You Got Older," a daughter returns home to tend to her ailing father while sorting through her own issues of love and desire.
Norm Lewis and Vanessa Williams lead the impressive singers in the New York Philharmonic's unusually pallid staging of "Show Boat."
In Sarah Ruhl's new play, "The Oldest Boy," at Lincoln Center, Buddhist monks want to take an American child to India because they say he is the reincarnation of a revered teacher.
Second Stage's middling revival of "Lips Together, Teeth Apart" doesn't fully excavate the rich seams of feeling in one of Terrence McNally's finest plays.
The playwright Sarah Ruhl returns to her roots as a dramatist, and to Lincoln Center Theater with the premiere of her new play, "The Oldest Boy."
Suzan-Lori Parks's new play reimagines a turbulent turning point in American history through a cockeyed contemporary lens.
