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Reflections on the fall season of New York City Ballet, which remains in transition with a new generation raring to go.
Fifteen years after her death, the peaks and valleys of Tammy Faye's life, including the extravagance, the betrayal and her unwavering love of God, are explored in a new musical.
A latter-day Lincoln and Booth try to survive the American dream in a hilarious, harrowing and superbly acted Broadway revival of the Suzan-Lori Parks play.
Two men circling each other for a hookup talk through fantasies and everyday doubts in this play by Jacob Perkins.
With a new one-man show, deploying a single deck of cards, the performer's 20-year run as magic's best-kept secret may be nearing its end.
Two classics, "In the Upper Room" and "Nine Sinatra Songs," share a program at City Center.
The busy choreographer returns to the stage, maybe for the last time, in her celebrated trilogy exploring Black life.
Three stage works in Paris by the incoming director of the Avignon Festival continue his preoccupation with empathy and human complexity.
The battle to win a New York City casino license has heated up in Manhattan, with real estate and gambling giants offering competing proposals for Times Square and Hudson Yards.
The choreographer Fouad Boussouf presents his mystical "Näss" at the Joyce Theater as part of the Crossing the Line Festival.
Dance entered Steven Melendez's life when Diana Byer met him at the shelter where he was living as a child. Now he runs the company she started.
He might be the greatest Shakespearean actor you've never heard of. At last, New Yorkers will get to see his no-holds-barred portrayal of Hamlet in Thomas Ostermeier's production at BAM.
Emma Rice's glorious stage adaptation of Emily Brontë's novel is a feat of storytelling, with a singing and dancing chorus embodying the moors.
Downtown, he was known for sprawling works and vivid performances, but later in his career he drew praise as an actor in mainstream productions, too.
A cast member criticized the consciously progressive revival for its handling of race in rehearsals, saying there had been "harm done." She later apologized for her comments.
Irreverence can be illuminating. But Bedlam's energetic productions of classics by Ibsen and Shakespeare lose insight in the process.
Jonelle Procope, who transformed the Harlem organization from a struggling nonprofit to an internationally recognized cultural center, will leave in June after two decades in the role.
The actress left months ago, and revealed her exit on Monday after her name arose during discussion of the errant reprimanding of a "Hadestown" patron who was using a captioning device.
The prolific choreographer tells a new story with two classic works at New York City Center: "In the Upper Room" and "Nine Sinatra Songs." In that order.
Melissa Etheridge's limited run at New World Stages is a celebration of its smoky-voiced 61-year-old star, and contains some confessions, along with her hits.
Lauren Anderson, whose story is told in "Plumshuga" in Houston, talks about the show, her personal battles and storied career: "I got to the mountaintop."
In Douglas McGrath's one-man show, his account of an experience as a teenager unfurls with the can't-look-away quality of a slow-motion crash.
Phelan, a principal at New York City Ballet, has gone from rising to risen with a stellar fall season that has shown her range in a string of debuts.
The choreographer Gisèle Vienne aims to open the doors of perception and bend our experience of time in "Crowd," at the Brooklyn Academy.
The acclaimed writers are communing once again in productions of "Baldwin and Buckley at Cambridge" and "A Raisin in the Sun" at the Public Theater.
