916 stories by "Laura Collins-Hughes"
Our critic didn't set out to see "Caroline, or Change" seven times, but amid so much uncertainty the show turned out to be just what she needed.
At the Irish Repertory Theater, this musical confection is a luridly entertaining tale, set mostly in 1857, about a villainous banker and his wily clerk.
Idina Menzel and a hummable pop score can't camouflage the fact that this musical is half-baked. Still, it can make for an enjoyable evening, our critic writes.
Mark Shanahan remixes Arthur Conan Doyle and Charles Dickens into a clever, crowd-pleasing holiday comedy that happens also to be a murder mystery.
He wrote great shows, but Stephen Sondheim was also a mentor, a teacher and an audience regular. And, oh, the thrill of getting one of his typewritten notes.
Whether it's the emotion coursing through Enda Walsh's plays or the energy pulsing through the streets of New York, the star of "Medicine" is picking it up.
Annie Ryan's stage adaptation of the Eimear McBride novel is given a lucid and intimate revival at the Irish Repertory Theater.
In Mansa Ra's heart-bruised new play, racism is a lethal force that menaces generations of Black American men.
The production lacks the power to unsettle despite a fine cast of killers and wannabes who changed, or at least made, history gunning for presidents.
The first post-shutdown live performance at New York Theater Workshop is almost a debriefing after the crisis we have endured.
The Olivier Award winner stars in "Caroline, or Change" in a role that pays tribute to "all Black women trying to make their way through this life."
The Irish Repertory Theater returns to live performances with a domestic tragicomedy by Kevin Barry.
The play, tracing the rise and fall of the fabled financiers, finally opens on Broadway after successful runs in London and at the Park Avenue Armory.
The daring Manhattan theater reopens this month with a gorgeous puppet festival, proving it has lost none of its nerve during the pandemic.
Once a fan and now a pioneering female member of the hip-hop improv troupe Freestyle Love Supreme, she is "switching it up."
Tina Satter's "Is This a Room" and Lucas Hnath's "Dana H." are performing in rotation at the Lyceum. They spoke about the significance of telling the true stories of living people.
Aya Ogawa's gentle, forthright reckoning of a play is a belated processing of the loss of a parent by a daughter who now has children of her own.
Xandra Nur Clark's provocatively questing but overlong solo show is a compassionate portal into a topic often treated with prurience.
I made the calculations before I traveled, and decided to go for it. Double masked, I stepped off the plane and set off for a week of theater.
Arturo LuÃs Soria wrote and stars in a forgiving, yet cleareyed solo show about parental damage done.
Edward Einhorn's "Alma Baya" is the bleak, humor-flecked tale of two clones on a distant planet who let a third inside their walls.
In "The Grown-Ups," a play by Skylar Fox and Simon Henriques, audience members sit around a real fire in a backyard in Greenpoint, Brooklyn.
When the Delta variant came to town, the Broadway stars, drag queens and comics were performing indoors again and the iffy summer of 2020 was just a memory.
A strong ensemble, music and movement round out the Hudson Valley Shakespeare Festival's last production in its longtime home at Boscobel House and Gardens.
"Hilton Als Presents," from New York Theater Workshop, features three of the playwright's overlooked and often disparaged works.
