1,151 stories from The New York Observer
This is as good as it gets.
In John Cameron Mitchell's podcast musical 'Anthem: Homunculus,' Glenn Close sings punk, Patti LuPone sings jazz and Laurie Anderson plays a tumor.
In Taylor Mac's new play, an updated take on 'Titus Andronicus,' Nathan Lane plays a street clown who survived the hangman and one day dreams of being called a fool.
Laurie Metcalf looks and sounds nothing like Hillary Clinton, yet in her role in Broadway's 'Hillary and Clinton' she is, as always, nothing less than mesmerizing.
Even if 'Burn This' offers more ashes than flames, it's a fine chance to experience how bracing it is to hear real people saying real things.
The road to 'Hadestown' was paved with good intentions, but the material that was a hit in Anaïs Mitchell's 2010 concept album drags as a Broadway show.
Michael James Scott has paid his dues for decades; now the super-trouper gets top Broadway billing in 'Aladdin.'
The newest from The Mad Ones, 'Mrs. Murray's Menagerie' invites us to play sociologists behind the fourth wall, watching a group of parents reveal their biases while discussing children's TV.
The landmark 1943 Rodgers and Hammerstein production that marked the beginning of a new era in American musicals has now been cheapened and vulgarized at New York's Circle in the Square Thea…
It's witty, smart, handsomely shot and stuffed with juicy cameos.
The Shed, a museum claiming diversity, access, and parity among artworks, was debuted at press preview that sidelined the core programs that would achieve that for a carnival of attractions.
In 'What the Constitution Means to Me' Heidi Schreck shows how the memoir-monologue can be electrified it within a harrowing historical context.
'Smart Blonde' is a sluggish, uneven work in progress, but still worth seeing if you want to discover a dynamic talent on her way to stardom.
From 'Hillary and Clinton' to an opera at the Met Museum, here are the must-see dance, opera and theater performances of the spring.
Director Scott Ellis navigates the antique attitudes of the original 'Kiss Me, Kate' material deftly, giving this classic musical an update that meshes with our age.
Why the hell is the new Britney Spears musical not based on the pop icon's chaotic life?
Isabelle Huppert's theatrics are quite a display, but you'll go away from 'The Mother' baffled and exhausted.
The only thing better than Lane Moore's hilarious 'Tinder Live!' comedy show? Its latest special guest, Janeane Garofalo.
'The Cake' is easy on the eyes and charming to the ears, but it doesn't provide much nutrition to take home.
Theater is Kryptonite for superheroes. 'Spider-Man: Turn Off the Dark' proved it, yet Second Stage's new musical from John Logan and Tom Kitt tackles the theme anyway.
Martha Plimpton delivers covers of Aimee Mann's songs alongside stories of troubled American commanders-in-chief (so many choices!) for the latest American Songbook Series.
Its audience might be pretty niche.
She still calls it 'bad acting,' but after taking a turn on the opera stage, Kathleen Turner's gained a huge appreciation for the art.
In 'Sea Wall/A Life,' Jake Gyllenhaal and Tom Sturridge deliver quietly shattering monologues about what we make of grief, and what grief makes of us.
Seeing Freestyle Love Supreme, the rap-improv troupe that Miranda founded in college, will give you a new understanding of the phenomenon known as 'Hamilton.'
