2,251 stories from theater2.nytimes.com
Sexual Tension Along the Jersey Shore By JASON ZINOMAN
Winter Miller's talent for dialogue exceeds her plotting facility in her play about the flexibility of sexual identity at Mint Space.
In a Rarely Seen Gogol, a Reluctant Suitor Is Hard to Suit By CAMPBELL ROBERTSON
The characters in the Pearl Theater Company's translation of Gogol's satirical play substitute volume for genuine comedic finesse.
Finding Empowerment in a Tragic Death By JASON ZINOMAN
The late Spalding Gray's influence can be found throughout this solo show that mixes wrenching personal confessions with acute characterizations of the loudmouths in New York.
Nightclub in Daylight Shows Corroded Underside By CHARLES ISHERWOOD
Martha Clarke and Charles L. Mee's ambitious attempt to capture late-19th-century Paris stumbles under the weight of Mr. Mee's wordy, unengaging text.
A Professional Failure Faces Certain Doom: Success By SARAH LYALL
Since Toby Young, by his own account, has made a career out of being a hapless loser, it is fitting that his play - about what a loser he is - is not so bad.
When Faust Gets Ahold of a Rock 'n' Roll Lyric Book By MARGO JEFFERSON
Plus 'In Bed With Regina.'
A Torn Land of Torn Hearts Lost in a Mist of Deception By BEN BRANTLEY
Michael Frayn's glorious study of the mutations of politics and the men who practice them fully translates its high aspirations to the stage, with sharp style and thrilling clarity.
One Woman, Uh-Huh, but So Many Guises By CHARLES ISHERWOOD
Whoopi Goldberg's intermittently funny but sluggish evening of comic portraiture is a show in desperate need of a stringent theatrical intelligence.
Street Life and Lowlifes Meet to Scheme in a Grubby Motel By JONATHAN KALB
"Risk Everything" is the rising Polish star Grzegorz Jarzyna's freewheeling, multimedia reinvention of a 1997 play by the Canadian George F. Walker.
A Kid Detective Who Never Forgets By LAWRENCE VAN GELDER
Theaterworks/USA has taken the adventures of a popular children’s heroine from page to stage with "Cam Jansen," a colorful, well-acted show at the Lamb’s Theater.
The Thrill of Killing and Building By JASON ZINOMAN
Glyn O’Malley’s "Heartbeat to Baghdad" proves a point that is easy to forget in a polarized climate: political art does not need to be polemical to make an impression.
That's No Girl Scout Selling Those Cookies By BEN BRANTLEY
Sam Shepard's robust new farce, which he has described as "a takeoff on Republican fascism," is neither a smooth nor subtle play.
Trying to Get the Last Word With the Grim Reaper By CHARLES ISHERWOOD
The Grim Reaper proves to be a spiffy debater in Anne Bogart's visually elegant staging of a daunting German text dating from the dawn of the Renaissance.
Familiar Misfits Are at It Again By NEIL GENZLINGER
A Festival Takes Chekhov to Places He Never Went By CAMPBELL ROBERTSON
Rhinestones Are Next Door to Glass By CHARLES ISHERWOOD
"Five by Tenn," a selection of Tennessee Williams one-acts — four of which were exhumed from a Texas archive — offers little cause for excitement.
A Nora Who Goes Beyond Closing Her Prison's Door By CHARLES ISHERWOOD
More than one door slams in Thomas Ostermeier's slick new staging of Henrik Ibsen's "Doll's House," but you have to listen carefully to hear the impact.
A Kickbox Pas de Deux Over Drinks By BEN BRANTLEY
This warmly acted revival of John Patrick Shanley's 1984 play stars Adam Rothenberg and Rosemarie DeWitt as self-loathing losers who meet mean in a Bronx bar.
Those Bludgeoning Wits of Yesteryear By STEPHEN HOLDEN
Dorothy Parker's cynical epigrams leave a pepper crust on this tidy but far too perky musical about the Algonquin Round Table.
High Heels and High Kicks: The Holiday Glitter Is Back By LAWRENCE VAN GELDER
The Radio City Christmas Spectacular is, as always, a warmhearted, spirit-lifting joy to behold.
A Little Taste of Hell By LIESL SCHILLINGER
Absurd, unbalancing and exhilarating, "Hell Meets Henry Halfway" is a Tilt-a-Whirl of a show that leaves you dizzy and means to.
Freud's Road Not Taken By LIESL SCHILLINGER
"Dear Vienna" asks us to imagine what would have happened if Sigmund Freud had started out as a playwright before dreaming up psychoanalysis as a safer day job.
Onstage, the War Never Ends as Playwrights Pose Questions of Responsibility and Guilt By EDWARD ROTHSTEIN
Three plays examine the legacy of forced prostitution in Japan during World War II.
