38,469 stories from The New York Times
The choreographer's contemplative "Deep River," performed by Lines Ballet at Lincoln Center's Rose Theater, swims along, brimming with hope and love.
A stage adaptation of the film featured an all-Western cast, was performed in Chinese and raised questions about translation, both linguistic and cultural.
Jean Butler's "What We Hold," at the Irish Arts Center, is an installation-like work that seeks restrained classicism in a post-"Riverdance" world.
In a stage adaptation of Oscar Wilde's "The Picture of Dorian Gray," Snook plays all the characters " with the help of screens.
In "Solitude," a stellar, haunting work that had its premiere on Thursday, New York City Ballet's artist in residence brings a photograph to life.
The British actor excels at playing reserve, and what roils beneath, on "The Crown." And now he brings that stoicism to "The Hunt," onstage in Brooklyn.
The transformative contribution, from an anonymous donor, is the largest in the company's 91-year history and one of the biggest ever to an American dance group.
Mona Pirnot's crisis-centered play uses all its resources to keep the audience at a physical and emotional remove from her sorrow.
Two deadly standoffs at Wounded Knee are the bookends for a show that manages to narrate a violent history with moments of light and humor.
Her program at the Joyce Theater features an extroverted dance from 1975 and two new works: an introspective solo to Jacques Brel and an antic look at a choreographer creating.
In an effort to entice audiences back after the pandemic, Britain's National Theater is testing a 6:30 p.m. curtain.
In "The Dating Show," the British comedian and ventriloquist initiates close encounters of the potentially romantic kind. Laughs will definitely ensue.
Themes of incest and sexual abuse of minors loom large in this strikingly becalmed play named after a legendarily vengeful Greek mother.
"I made Nickelodeon," the former "Double Dare" host said. Now he's telling all in his Off Broadway show "The Life & Slimes of Marc Summers."
The nonbinary dancers Ashton Edwards and Taylor Stanley made history in their magnetic performance of Justin Peck's "The Times Are Racing" at New York City Ballet.
Lucy Moss and Toby Marlow spent years working out how to follow their hit musical about Henry VIII's wives. "Why Am I So Single?" is their answer.
Worldwide colony collapse is the subject of a bright, strange, upbeat thought experiment about insect hives, and our own.
Eddie Izzard is a wildly witty ad-libber, but a play straitjackets this gift " especially in this new staging that is short of ideas.
The Delacorte is being renovated, so this summer will instead bring a mobile production and then a filmed play to outdoor sites in the city's five boroughs.
'I've been here a while,' said Lillias White, who plays Hermes in the Tony-winning musical. 'Hence the clutter.'
In "What We Hold" at the Irish Arts Center, the "Riverdance" star turned contemporary choreographer returns to Irish dance with an inquiring lens.
Through self-examinations and social recriminations, Phillip Howze's new show explores the injustices facing Black men.
For her latest program at the Joyce Theater, the one-of-a-kind choreographer showcases two new dances, along with a revival of "Ocean's Motion."
The playwright Lucas Hnath has been making magic with the sound of speech. Now he's directing a play by Mona Pirnot, his wife, in which a computer speaks her words.
In this work, inspired by Quentin Tarantino's "Kill Bill" films, Croatian performers address the fraught director-actress relationship at its core.
