1,898 stories from The New Yorker
In "New York, New York," directed by Susan Stroman, and "Good Night, Oscar," starring Sean Hayes, the city is both the setting and a lead character.
Vinson Cunningham, Helen Shaw, and Michael Schulman revisit Andrew Lloyd Webber's mega-musical.
Poetry by Saskia Hamilton: "She is dying, said the nurse. It was a Tuesday / in the new century."
In a new production of "Camelot," reimagined by Aaron Sorkin and directed by Bartlett Sher, Arthur is more perfect than ever. But this iteration of the hero's kingdom isn't worthy of him.
The playwright behind "The Thanksgiving Play" discusses her satire of theatre and U.S. history, the enduring prevalence of "redface" in casting, and how a background in ballet made her a bet…
A hundred and fifty million Americans are on TikTok. Evan Osnos and Chris Stokel-Walker discuss why politicians are so keen to ban the app. Plus, Broadway's new comedy of white wokeness.
Experimental theatre and soap tropes commune in Julia Izumi's "Regretfully, So the Birds Are" and Michael R. Jackson's "White Girl in Danger."
"A Strange Loop," a story about a Black, gay theatre nerd, was a surprise success. In his latest work, "White Girl in Danger," Jackson reimagines the soap opera.
Sondheim's music and lyrics gleam as bright as ever, even when the production loses its edge.
The cast and the writer of the Pulitzer Prize-winning play, which riffs on "Hamlet," enjoy a pre-Broadway-opening feast at Melba's in Harlem.
Ben Platt stars as the doomed Leo Frank in Alfred Uhry and Jason Robert Brown's all too relevant musical tragedy.
In a show at Dia Beacon, the artist explores her poetics of the body and her philosophical belief in flow.
Ben Platt, the Tony-winning star of "Dear Evan Hansen" and, now, "Parade," discusses some links to the character he plays, and discovering that he's Josh Groban's cousin.
Jamie Lloyd's ascetic production of Ibsen's 1879 drama eliminates nearly every conventional marker of character, location, or gesture.
In a stage adaptation of Yann Martel's novel, a Bengal tiger called Richard Parker"operated by puppeteers"joins a boy named Pi, who is lost at sea, in a lifeboat.
Adrienne Warren stars in "Room," Rachel Chavkin directs the satire "The Thanksgiving Play," accident-prone Brits put on "Peter Pan Goes Wrong," and more.
Most performance spaces in the city have been shut down since the start of the war. Some residents are reënacting experiences from the invasion themselves.
Nathan Lane and Danny Burstein rely on shtick in Sharr White's adaptation of Larry Sultan's book, while Norbert Leo Butz can't save the musical "Cornelia Street."
Burt Bacharach's complex, existential pop.
The actor, a fixture of New York's experimental-theatre scene, did not "become" his characters; he stood, somehow, next to them, amused and delighted.
At the Irish Repertory Theatre, John Douglas Thompson and Bill Irwin wring moments of superb physical comedy from two characters who struggle to move.
In "Small Talk," "Without You," and "cryptochrome," Colin Quinn, Anthony Rapp, and Evan Silver take the mike.
This raucously pro-choice musical, by the Philadelphia-based theatre collective Lightning Rod Special, sniffs out taboos and hunts them down at the pace of a sprint.
The New Yorker's co-theatre critics chat about "seven methods of killing kylie jenner," a puppet version of "Moby-Dick," and the other plays they saw during this year's event.
Recent shows' visions of the future haven't exactly been post-apocalyptic, with the violence and darkness that term implies. Instead, they have delighted in our disappearance, savored it.
