38,669 stories from The New York Times
She wrote 70 plays, won an Obie Award and wrote and directed "Viet Rock," a musical that predated "Hair" and is considered the first U.S. stage work to address the Vietnam War.
Laura Horton's poignant comic monologue at 59E59 Theaters, part of the Brits Off Broadway festival, delivers a sympathetic portrayal of a sample-sale hoarder.
Kathy Westwater's dances at the Chocolate Factory, "Revolver" and "Choreomaniacs," build on her focused movement investigations of the last 20 years.
The director and star of the Volksbühne's new show, based on a play by Lord Byron, picked up another role when one of the lead actors was missing in action.
Audiences were eager to humbly suffer the stinging quips tossed out by the towering figure that was Barry Humphries's creation.
Mr. Goodman, who was also a longtime judge on the British show "Strictly Come Dancing," was known for his wry humor and colorful phrases and delivery.
The "Killing Eve" star has a spectacular Broadway debut in a play that puts sexual assault jurisprudence on trial.
The company presented two large-scale works, one inspired by the French protests of 1968, and the other a response to a lost Merce Cunningham work, at NYU Skirball.
Bewigged, bejeweled and bejowled, Mr. Humphries's creation was one of the longest-lived characters ever channeled by a single performer.
A dancer with a singularly theatrical presence, she was best known for her long collaboration with her husband, the choreographer David Gordon.
Three senior dancers at Dance Theater of Harlem reflect on working with Virginia Johnson, who is stepping down as its leader.
The choreographer is trying his hand at filmmaking with an experiment that merges drama, dance and music.
A new generation of choreographers, obsessed with composition and costumes, experiments at Pageant in East Williamsburg, Brooklyn.
Larissa FastHorse's comedy of performative wokeness is also a brutal satire of American mythmaking.
A decade after its rebirth, the company is assured and radiant in a challenging Balanchine and a moody piece set to James Blake's electronic soul music.
The choreographer Benjamin Millepied's directing debut is an of-the-moment but scattered take on a classic love story.
Sarah Ruhl met Paula Vogel as a student in her class. Thirty years later, they still exchange first drafts.
Can you collaborate with your mother, a Pulitzer-winning playwright, and develop your own voice too? Ruby Aiyo Gerber wasn't too scared to try.
Aerial mishaps and half-wit actors turn a fantasy classic into a farce. But, like Peter, not all of the jokes land.
After rescuing the company from bankruptcy, he turned it into a major player on Broadway and one of the largest nonprofit theater companies in the country.
The two premieres in the company's two-week run at the Joyce Theater are by fledgling choreographers whose efforts don't add much to Graham's legacy.
A new memoir traces the three-time Tony Award winner's life and career working with Balanchine, Robbins and Fosse.
Suzan-Lori Parks wrote one play a day for 13 months during the pandemic. Those stories come to life onstage in the form of monologues, dialogues and songs at Joe's Pub.
The French director Joël Pommerat has created an intimate chamber work examining love from many angles, all of them laced with pain and misunderstanding.
In her new play, Lauren Gunderson explores the legacy of the 18th-century French mathematician and philosophe Emilie du Châtelet.
