221 stories by "Helen Shaw"
The actor's fondness for the audience radiates outward in this delightful interactive play about naming and noticing the good in the world.
Anna Ziegler's feminist take on Sophocles tries to tie in reproductive politics, but the play keeps trampling over its own ideas.
The Times's new chief theater critic is taking up the mantle as the industry moves over rocky ground.
The playwright and his collaborator André Gregory are together again, delivering a sumptuous set of interlinked monologues about life, death and betrayal.
In the stage versions of two beloved books, the most impressive moments emerge when the productions stray from the source material.
Clare Barron's gorgeous play, about an unmoored young woman returning home to care for her father, finds a new home at Cherry Lane Theater.
Without the usual flood of new musicals, the playwrights of works like "Becky Shaw," "Dog Day Afternoon" and "Giant" are getting a chance to shine.
Theater for a New Audience's reimagining of the Shakespearean tragedy misses an opportunity to engage the play's many echoes with our own tense era.
Milo Rau's examination of the infamous broadcast that preceded the Rwandan genocide is onstage now. Two other works, including "The Pelicot Trial," arrive in March.
The chameleonic actor takes on several characters in David Cale's solo play about a writer in pursuit of his stalker. Or is it all in his mind?
In Alexander Zeldin's naturalistic adaptation of "Antigone," Tobias Menzies and Emma D'Arcy star as a feuding uncle and niece.
Ten actors wear the crowns in Karin Coonrod's production, which is rich with twilight revelation, at La MaMa in Manhattan.
Libby Howes was an imposing presence onstage with the Wooster Group. But after abruptly leaving New York in 1981 she became a theater world mystery. What happened?
"Watch Me Walk," "Ulysses" and other offerings from Under the Radar and the Exponential Festival engage with personal histories and the works of literary lions.
Erica Schmidt's discordant comedy, starring Hamish Linklater and Miriam Silverman, is a farce clumsily straddling two genres.
It's been the year of Molière, and therefore the year of the liar, the hypocrite, the poseur, the clown.
Helen Shaw reviews "Marjorie Prime," with June Squibb, Cynthia Nixon, and Danny Burstein,
It was a banner year for generation-defining performance, both up- and downtown.
The playwright offered a kind of on-ramp to the literary canon, a way into a life of unabashed, unstoppable thinking.
"Coyote," a new biography by Robert M. Dowling, recounts how the cowboy laureate of American theatre invented himself.
The Broadway veteran stars as a Marie Antoinette wannabe in a musical about excess, and Anne Washburn goes post-apocalyptic with "The Burning Cauldron of Fiery Fire."
The playwright Samuel D. Hunter tailors a family drama to the actress's specific gifts; at Powerhouse: International, the artist Carolina Bianchi explores violence against women.
Heather Christian and Jordan E. Cooper create two very different versions of spiritual inquiry.
The British buzz merchant Jamie Lloyd directs Alex Winter and Keanu Reeves in Samuel Beckett's 1954 tragicomedy; plus, "All Right. Good Night.," from Rimini Protokoll.
Bobby Cannavale, James Corden, and Neil Patrick Harris play friends who spar over almost everything.
