1,908 stories from The New Yorker
The actor Robert Shaw used to bring his son Ian to the "Jaws" set. Now Ian's playing his dad in "The Shark Is Broken," his play about the mechanical predator.
A new venue with an archive, an exhibition space, and a theatre has opened up across from the Louis Armstrong House Museum, in Corona, Queens.
David Byrne's electro-pop Imelda Marcos is a series of hard, mirrored surfaces.
Helen Shaw reviews Robert Icke's adaptation of an Arthur Schnitzler play, starring Juliet Stevenson as a doctor who is a target of anti-Semitism and language policing.
"Operation Mincemeat," "Guys and Dolls," and "The Motive and the Cue" gallop into the past.
It was a big night for the off-kilter appeal of "Kimberly Akimbo," the nonbinary winners Alex Newell and J. Harrison Ghee, and try-hard musical-theatre-kid energy.
In Branden Jacobs-Jenkins's new play, at Signature Theatre, friends gathering for their twenty-year high-school reunion are each inhabited by the Reaper himself.
James Grissom says that he met the playwright and his famous muses, and quoted them extensively in his work. Not everyone believes him.
In the summer of his death, Peter Foley and I talked about the shape of an artist's life made under the special pressures of the modern musical theatre.
David Byrne and Fatboy Slim's "Here Lies Love" on Broadway, Ato Blankson-Wood's "Hamlet" in the Park, Robert Icke's "The Doctor," and more.
In "New York, New York," directed by Susan Stroman, and "Good Night, Oscar," starring Sean Hayes, the city is both the setting and a lead character.
Vinson Cunningham, Helen Shaw, and Michael Schulman revisit Andrew Lloyd Webber's mega-musical.
Poetry by Saskia Hamilton: "She is dying, said the nurse. It was a Tuesday / in the new century."
In a new production of "Camelot," reimagined by Aaron Sorkin and directed by Bartlett Sher, Arthur is more perfect than ever. But this iteration of the hero's kingdom isn't worthy of him.
The playwright behind "The Thanksgiving Play" discusses her satire of theatre and U.S. history, the enduring prevalence of "redface" in casting, and how a background in ballet made her a bet…
A hundred and fifty million Americans are on TikTok. Evan Osnos and Chris Stokel-Walker discuss why politicians are so keen to ban the app. Plus, Broadway's new comedy of white wokeness.
Experimental theatre and soap tropes commune in Julia Izumi's "Regretfully, So the Birds Are" and Michael R. Jackson's "White Girl in Danger."
"A Strange Loop," a story about a Black, gay theatre nerd, was a surprise success. In his latest work, "White Girl in Danger," Jackson reimagines the soap opera.
Sondheim's music and lyrics gleam as bright as ever, even when the production loses its edge.
The cast and the writer of the Pulitzer Prize-winning play, which riffs on "Hamlet," enjoy a pre-Broadway-opening feast at Melba's in Harlem.
Ben Platt stars as the doomed Leo Frank in Alfred Uhry and Jason Robert Brown's all too relevant musical tragedy.
In a show at Dia Beacon, the artist explores her poetics of the body and her philosophical belief in flow.
Ben Platt, the Tony-winning star of "Dear Evan Hansen" and, now, "Parade," discusses some links to the character he plays, and discovering that he's Josh Groban's cousin.
Jamie Lloyd's ascetic production of Ibsen's 1879 drama eliminates nearly every conventional marker of character, location, or gesture.
In a stage adaptation of Yann Martel's novel, a Bengal tiger called Richard Parker"operated by puppeteers"joins a boy named Pi, who is lost at sea, in a lifeboat.
