59 stories by "Houman Barekat"
Sophocles is suddenly everywhere on the city's stages. In concurrent shows, Rami Malek is playing Oedipus and Brie Larson is taking on Elektra.
Dave Malloy's musical, which was a hit in New York, comes to London in an antirealist staging that loses the 1812 setting and some emotional punch.
A new play in London portrays the beloved children's author as a rounded character, while making no apology for his bigotry.
The duo behind the Broadway hit follow it up with a meta reflection on finding love online that is relatable and fun but lacking narrative drive.
Grief narratives were in vogue, and psychological maladies, too, at the annual Scottish arts showcase.
In a soul-baring new show at the Edinburgh Fringe, the Australian stand-up leans once again into fears, anxieties and mental health worries.
The event's best theater production avoided the gimmicks of other shows in favor of well-drawn characters and well-written dialogue.
Multiple shows at the Edinburgh Fringe make camp fun out of the 2023 civil action that spurred a thousand memes " and one of them is a triumph.
Nostalgia will undoubtedly lure many to a London revival of the Andrew Lloyd Webber musical. It has more in common with a theme park than with theater, our critic writes.
How do you bring an almost plotless book of elliptical fragments to the stage? The director Katie Mitchell has tried with three actors, four screens and three bottles of whiskey.
The London production, starring Tom Holland, sold out in hours. But its understated rendering of the central romance may leave some theatergoers wanting more.
A production at the Shakespeare's Globe theater faced criticism because a nondisabled actor plays the scheming king. But disputes like these miss the point, our critic writes.
Benedict Andrews's production in London offers perfectly pitched comedy where other directors find somber tragedy.
The Royal Shakespeare Company's co-artistic directors have put together a challenging debut season. But many visitors come to Stratford-upon-Avon seeking something more traditional.
Ivo van Hove's stage adaptation of the 1977 John Cassavetes film, with music by Rufus Wainwright, turns a taut character study into a corny melodrama.
"For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy" and "Red Pitch" offer generous portrayals of male bonding.
In a stage adaptation of Oscar Wilde's "The Picture of Dorian Gray," Snook plays all the characters " with the help of screens.
Jez Butterworth's new play explores the family dynamics of a song and dance troupe that didn't make the big time.
The Belgian director's revival of "Jesus Christ Superstar" showcases some of his signature aesthetic techniques. But it's an odd pairing.
Ralph Fiennes and David Tennant take Shakespeare's psychodrama along divergent paths in two simultaneously running shows.
"Stranger Things: The First Shadow," a London theater show based on the Netflix series, pummels the audience with sensory overload and its lavish budget.
A London production adapted from Eliza Clark's debut novel refuses to justify its unreliable narrator's violence, but lacks narrative depth and complexity.
In London, transforming Chekhov's "Uncle Vanya" into a one-man show is an impressive feat, but it costs the play its pathos.
In a revival of Lucy Prebble's play at the National Theater, in London, Paapa Essiedu and Taylor Russell are terrific as a couple who meet during a pharmaceutical trial.
This year, the stronger productions in the open-to-all event were on a par with many in the more prestigious, curated Edinburgh International Festival.
