1,121 stories by "Charles Isherwood"
Alexandra Silber plays the blinkered heroine at the center of the solo musical "Arlington."
"Kung Fu," the new play about Bruce Lee by David Henry Hwang, never achieves the fluid grace in its dialogue and dramaturgy that it does in its action sequences.
Personalities based on real people (Moss Hart, Lyndon B. Johnson) and imagination (Violet, Hedwig) add psychological complexity to the Broadway season.
Nina Arianda makes a most welcome return to the stage this spring in David Grimm's "Tales From Red Vienna."
In Ken Urban's drama "The Correspondent," a widower's wife returns in the body of a man.
The Roundabout Theater revives "Dinner With Friends," Donald Margulies's Pulitzer Prize-winning drama about two married couples suffering from changes in marriage and friendship. …
A potent premise fails to deliver the goods in "A Great Wilderness," the frustratingly limp new drama by Samuel D. Hunter, having its premiere at Seattle Repertory Theater. …
"Luna Gale," a Rebecca Gilman play getting its premiere at the Goodman Theater in Chicago, takes on the knotty issues facing child services in the case of parents with drug addictions. …
Eric Simonson's "Bronx Bombers," at Circle in the Square Theater, focuses on Yogi Berra and the 1977 New York Yankees, then brings in stars of other eras as well.
"I Call My Brothers," by the Swedish playwright Jonas Hassen Khemiri, sends an Arab-American to Times Square soon after suspicious explosions.
In the immersive tradition of "Sleep No More" comes "Queen of the Night," an interactive experience including acrobatic acts, striptease, physical contact and lavish dining. …
Four Houstonians are pulled back to nature in surprising ways in "Cherokee," Lisa D'Amour's new play, having its premiere at the Wilma Theater in Philadelphia.
The Classic Stage Company's "A Man's a Man" is a hard-working though uninvolving production of this early work by Bertolt Brecht.
"Stop Hitting Yourself," created by the Texas ensemble Rude Mechs, brings lots of tacky glitter to Lincoln Center along with ethical questions.
Jessica Dickey's "Row After Row" tells the story of three Civil War re-enactors in Gettysburg.
In John Patrick Shanley's "Outside Mullingar," an Irish father and son and their neighbors, consider questions of life, death, love and the family farm.
Following in the footsteps of the Metropolitan Opera, theater producers are weighing the potential risks and rewards of HD broadcasts in movie theaters.
In the new adaptation of "The Loneliness of the Long Distance Runner," blacks and immigrants in Britain face the barriers that a white lower class did in the 1950s.
"Stop Hitting Yourself" views "late-stage capitalism" through the prism of the Busby Berkeley musicals of the 1930s.
Lunacy is presented with a poker face in a revival of "Loot," Joe Orton's farce directed by Jesse Berger at the Lucille Lortel.
In "Grounded," a one-woman show starring Hannah Cabell at Walkerspace, a military pilot is reassigned to drone duty, operating deadly missions from a base outside Las Vegas. …
John Hodgman, best known for this geeky "Daily Show" persona, brings a one-man show in the Under the Radar Festival.
In "Brand New Ancients," part of the Under the Radar festival, Kate Tempest looks for majesty and mystery in ordinary lives.
Part of the Under the Radar Festival, "The Record," a dance-theater piece at the Public Theater, calls reverent attention to the shared experience of the stage.
The experimental designer and director Jay Scheib is offering audiences two ways to view his raucous contemporary rewrite of an unfinished early Chekhov play.
