38,684 stories from The New York Times
Domhnall Gleeson is surrounded by an eccentric cast of characters in Enda Walsh's surreal play at St. Ann's Warehouse.
He wrote not for white or middle-class audiences, but for the strivers, hustlers and quiet sufferers whose struggles he sought to capture in searing works.
The Netflix version of Broadway's "Diana, the Musical" landed with a thud. But it got people talking. Now the show's lead actress is staying positive ahead of opening night.
Paul Osborn's 1930s play is revived, with its thin psychology, predictable structure and somewhat bitter slice of small town life intact.
In "Twyla Now," a program of works featuring ballet stars and a youthful ensemble at New York City Center, Tharp merges the past with the present.
Since the pandemic, San Francisco has embraced work-from-home policies. Now venues and concert halls are wondering if weeknight audiences are thing of the past.
Ntozake Shange's choreopoem begins performances in March at the Booth Theater, home to the original 1976 production.
The production lacks the power to unsettle despite a fine cast of killers and wannabes who changed, or at least made, history gunning for presidents.
In this workplace comedy, beleaguered colleagues struggle to come together for an active-shooter training exercise.
Luciana Achugar presents the premiere of "Puro Teatro: A Spell for Utopia" at the new, improved Chocolate Factory, but its pleasures feel one-sided.
Created during the pandemic, Zvi Gotheiner's "The Art of Fugue," performed by ZviDance at New York Live Arts, now registers as a work of recovery.
The United States now allows vaccinated international travelers into the country. It's welcome news for arts institutions that lost revenue and cut jobs during the pandemic.
The writer maps her life in a one-woman show, "Is There Still Sex in the City?," beginning previews this weekend at the Daryl Roth Theater.
With a Black-led production of Shakespeare's play, an Austrian theater hopes to jump-start a conversation about racism and the need for diversity on the country's stages.
Representation for dramatic artists of color is improving, but few Black creators get to be their own bosses. Two recent productions show what France's mainstream theater is missing.
Jocelyn Bioh's new comedy about making movies in Nigeria throws some side-eye on Hollywood as well.
The play canceled performances this month because of breakthrough cases in the company. With costs mounting, it will close Nov. 28.
In "I Am Also " Monte," Molly Poerstel and Monte Jones consider how, in dance, the past seeps into the present and into collaborations.
His plays tended to parody American institutions. His food writing tended to be full of humor.
Two decades into her career, the writer's stage debut is "The Wife of Willesden," an adaptation of the Wife of Bath's tale set and staged in the British capital.
In this bizarrely cheery adaptation of the Academy Award-winning film, suicide among young gay people proves difficult to sing about.
This maddening, brain-scrambling show, which just opened at the esteemed Soho Rep, is nothing if not slippery, our critic writes.
It seemed as if the Lucille Lortel Theater Foundation's purchase of the theater was a done deal in July. But now the property is back on the market.
In "The Walk," a 12-foot tall, 9-year-old Syrian girl named Amal trekked from Turkey to Britain to find her mother. In a politically divided continent, were any minds changed?
The musical, about a comedian's rise and fall, plans to open at the Nederlander Theater in the spring.
