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Emma Donoghue adapted the show from her best-selling 2010 novel; she also wrote the screenplay for the 2015 film.
Presented by Richard Maxwell's New York City Players as part of this year's Under the Radar Festival, the two-act play tries to measure humanity's progress.
The Russian dancer brought her star-and-her-friends touring program to New York City Center on Saturday for a sold-out, one-night-only show.
Featuring a lobster telephone and a robot boy with batlike wings, this puppet romance set in a future post-ecological collapse succeeds on its own weird terms.
The choreographer Constanza Macras's new work at the Volksbühne is a chaotic revue featuring dance, slapstick, spoken dialogue, pop music and heavy-handed monologues.
Eduardo Machado's autofictional play follows the playwright's alter ego as he navigates gay life in the 1980s and '90s.
One of the first Black regulars on a TV variety show, he brought tap to millions of viewers on "The Lawrence Welk Show" after Betty White gave him his first big break.
The interdisciplinary Out-FRONT! fills a gap in the dance calendar, showing incandescent works like Jasmine Hearn's "Salt and Spirit."
At a Brooklyn club, fans of the Netflix series "Wednesday" showed off their takes on the pigtailed heroine's signature moves in a midnight competition.
From "A Strange Loop" to "Funny Girl," most Broadway musicals of 2022 were recorded, offering listeners a chance to love or hate them again.
A passé take on Georg Büchner's 1835 play about the French Revolution leans into the worst instincts of the Comédie-Française, our critic writes.
The Public Theater's experimental theater festival is back in person for the first time since 2020. Here, our critics review a second selection of the works on display.
Ronald K. Brown/Evidence returns to the Joyce Theater with two hits, "Open Door" and "Grace," and a New York premiere with music by Jason Moran.
"Frankenstein's Monster Is Drunk and the Sheep Have All Jumped the Fences" and "Heaven," two plays in Origin's 1st Irish Festival, offer two very different views of marriage.
She danced with Nureyev and dazzled audiences during her 18 years with American Ballet Theater. She later went on to a five-decade career as an admired teacher.
"Teller of the Unexpected," an elegant new biography, sidesteps the ugly side of the children's book author while capturing his grandiose, tragedy-specked life.
In recent shows, ideas of gayness are expanding, combining and disappearing all at once.
Michael R. Jackson discussed his Pulitzer and Tony-winning musical, which closed Sunday after a nine-month Broadway run.
She and her husband invented a model for faithfully adapting acclaimed literature, illuminating an alternate path for independent cinema.
The Indigenous artist Daina Ashbee's first group piece, at the Gibney, simmers with tension and offers an approach to healing.
Septime Webre's rendition of the tragic tale for Hong Kong Ballet this weekend at New York City Center had a striking look, but its dancing lacked vulnerability.
In three Broadway plays this season, a quest for financial stability can't undo the trauma of the past or dismantle the architecture that places a ceiling on Black futures.
Vertigo Dance Company's "Pardes" is handsomely constructed if occasionally contrived.
The Public Theater's experimental theater festival is back in person for the first time since 2020. Here, our critics review a handful of the works on display.
The American Dance Institute, which operates the center, said the pandemic and shifting priorities of donors had led it to rethink its mission.
