2,251 stories from theater2.nytimes.com
Why the Caged First Ladies Sing by BEN BRANTLEY
Michael John LaChiusa's intricate chamber musical at the Connelly Theater is powerfully sung and performed by skilled Broadway veterans.
Being and Time, Love and Power or, When Hannah Met Martin by MARGO JEFFERSON
Ideas can be more frenzied and violent than feelings. This frightening truth is at the center of Kate Fodor's play about Hannah Arendt and Martin Heidegger.
Actors Switch Horses After Act I, Giving a New Twist to a Theme by MARGO JEFFERSON
Everything turns on the actions of an implacable mother in Daniel Goldfarb's new play the Manhattan Theater Club.
A Young Writer Caught in the Claws of Fascism and War by MARGO JEFFERSON
David Auburn, the award-winning author of "Proof," has shaped journals written by a Romanian Jew from 1935 to 1944 into a one-man play.
Three Egos, Two Stars, One War by BEN BRANTLEY
This fitful revival of Ben Hecht and Charles MacArthur's portrait of battling theatrical egos feels stalled in the 1930's.
What Do I Want? It's Just One Word by MARGO JEFFERSON
Anyone who sees "More" probably knows Yeardley Smith as the voice of Lisa Simpson. But Ms. Smith is a charming actress in her own skin and a smart, complicated woman.
A Woman With a Past, a Pistol and No Petticoats by BEN BRANTLEY
Nicholas Ray's fever dream of a movie from 1954 has been translated into a downright cozy pocket musical at the Century Center for the Performing Arts.
Shooting the Television, Dreaming the Dream by MARGO JEFFERSON
Sung Rno's new play based on Medea at the Ohio Theater is generously inventive and vaults past the confines of its adaptation.
Slicing and Dicing With Razors, and Emotional Housecleaning by ANITA GATES
While some of the sharpness of Betty Fussell's book has made it into the script, Dorothy Lyman's portrayal of Ms. Fussell at the 78th Street Theater Lab is a dud.
The Reason Why I Sing: Divining a Music's Roots by NEIL GENZLINGER
The show at the Henry Street Settlement is a pleasant enough survey of gospel music, but it would be a better show if it were truer to its title.
A Soap Opera in County Clare by ANITA GATES
Ann Noble's melancholy Irish family drama bursts onto the small stage of the June Havoc Theater with potently credible family relationships.
Bending Genders in Midsummer Dreams by MARGO JEFFERSON
The much-touted, all-male Watermill Theater-Propeller production of Shakespeare's comedy is absolutely exhilarating.
Amorous Liaisons Across Class Lines by WILBORN HAMPTON
The Pearl Theater Company has mounted a diverting production of "La Double Inconstance," or "Double Infidelity," by Pierre Carlet de Chamblain de Marivaux.
Mateys, Call It the Great Leviathan by LAWRENCE VAN GELDER
Storytelling is elevated to high art in Theater Triebwerk's luminous and engrossing production of Herman Melville's epic of deadly obsession and vengeance.
Waiting for Oedipus, Putting on a Show by BEN BRANTLEY
Craig Lucas's searching, grandly imbalanced new work explores the disconnect between a warm and cozy surface and the forbidding depths beneath.
Setting a Baffling Bureaucracy to a Loud Hard-Rock Score
This musical about taking a simple request to a baffling, uncommunicative bureaucracy rocks hard and loud, often so loud that the lyrics are indecipherable.
Her Longings Are Bubbling Up Just as His Are Settling Down by NEIL GENZLINGER
This surprisingly entertaining and affecting production of a second-tier Tennessee Williams play balances on the edge of self-parody and survives.
Inmate Returns to Stardom, This Time Posthumously by MARGO JEFFERSON
Adrian Hall has combined Jack Henry Abbott's writings with court records, news reports and "many angry opinions" to create a play structured as college documentary.
A Fiery Fall Into the Abyss, Unknowing and Unknown by BEN BRANTLEY
Christopher Plummer is giving the performance of a lifetime in the title role of "King Lear" at the Vivian Beaumont Theater at Lincoln Center.
Facing Life and Fearing Death Deep in a Complicated Night by BRUCE WEBER
The first play by Tristine Skyler depicts a slice of New York that theatergoers will recognize as authentic.
Rome Neal eases his way through this solo play about jazz musician Thelonious Monk, taking his time to tell the story of an artist he clearly loves.
The British production of "A Disappearing Number," about the search for meaning and the friendship between two mathematicians, plays through Sunday at Lincoln Center.
Heaven and hell both serve as backdrops in "I'll Be Damned," an elongated sketch of a musical.
In her solo show "A Night at the Tombs," the transgender performer Bianca Leigh reflects on her life during a night of incarceration.
