1,121 stories by "Charles Isherwood"
The playwright Annie Baker and the director Sam Gold have collaborated on a funky, fresh new production of "Uncle Vanya."
Jim Parsons of "The Big Bang Theory" stars in a revival of "Harvey," a Roundabout Theater production about a sweet drinker and his invisible rabbit friend.
Gina Gionfriddo's "Rapture, Blister, Burn," at Playwrights Horizons, considers the career versus marriage debate from the perspectives of two women.
Burdens are just about equally distributed among the eclectic characters in "Storefront Church," John Patrick Shanley's unwieldy but affecting new play.
Dating-competition television shows are given a musical satire treatment at the Old Globe Theater in San Diego.
In "Food and Fadwa," a co-production of Theater Noor and New York Theater Workshop, a Palestinian family copes with a menu, a wedding and another night of curfew on the West Bank.
Charles Isherwood on some of his favorite YouTube clips from past Tony Awards broadcasts.
With delicate plotting and dialogue, early-career writers are bringing a sensitive new voice to Off Broadway theater.
Alena Smith's new play, "The Bad Guys," displays an appreciation of the complicated mixture of honorable and dishonorable impulses in us (well at least those of us who are guys).
The Broadway-bound "Hands on a Hardbody," now at La Jolla Playhouse in San Diego, strikes a fresh, topical note for American musical theater.
An air of disorderly fabulousness pervades "Jukebox Jackie," a show with Justin Vivian Bond at La MaMa that pays spirited tribute to Jackie Curtis, one of the gender adventurers who orbited …
By choosing to play the lead in "The Lyons," for which she is Tony-nominated, Linda Lavin gave up two smaller parts that have earned nods for the actresses who took them on.
"Title and Deed" is Will Eno's Beckettian meditation on loneliness and home, in which a nameless traveler narrates his quest to find connections in an unknown country.
"Are You There, McPhee?," the new John Guare play, is a dizzying comic fantasy about the terrors of childhood, the confusions of adulthood and much more.
Three cheers for the small but ambitious One Year Lease Theater Company for bringing Mark Ravenhill's terrific play "pool (no water)" to New York.
There's a significant difference between attending live theater and seeing a taped performance of the same show.
This sorry Broadway musical season mainly offered choices of the vulgar, the derivative or the insipid. Thank goodness there at least a few memorable individual performances.
Too much artificial sweetener has been stirred into "Fat Camp," a new musical at the American Theater of Actors about teenagers singing their way to slimmer waistlines.
Frank Galati's adaptation of "The March," E. L. Doctorow's novel about Sherman's march to the sea, never evolves beyond a series of vignettes.
Jonathan Pryce plays a tramp aided and tormented by two brothers in a revival of Harold Pinter's classic 1960 play "The Caretaker" at the Brooklyn Academy of Music
Nathan Lane and Brian Dennehy star in Robert Falls's sterling new production of Eugene O'Neill's tough, loquacious, magnificent play at the Goodman Theater in Chicago.
"The Realistic Joneses" is a tender, funny, terrific new play by Will Eno at the Yale Repertory Theater.
A modern-dress production of "A Midsummer Night's Dream" at the Classic Stage Company, with Taylor Mac as Puck, is a feast of arresting imagery.
"Don't Dress for Dinner," a revival of a sex farce by Marc Camoletti, has the stale flavor of an old TV dinner defrosted and microwaved.
A Hollywood hit about post-mortem romance comes to Broadway in "Ghost the Musical," at the Lunt-Fontanne Theater.
