In this production of J.M. Barrie’s 1904 play, Bernstein’s neglected score brings out the characters’ melancholic desires.
NYT > Theater
In this revival of Wallace Shawn’s 1979 play, a couple’s loathing creates a weird frisson of erotic challenge.
In Tracy Letts’s gripping play, it takes six actors (and a doll) to embody one steely, difficult woman, from infancy to the age of 69.
Melissa Errico, who is currently starring in “On a Clear Day You Can See Forever,” reflects on problematic female characters of Broadway’s golden age.
With “Head Over Heels” in previews, we looked at how five Go-Go’s songs evolved into musical-theater numbers.
The death of the show’s composer, Michael Friedman, makes this musical about loss an accidental and indispensable elegy.
The show based on slave songs closed in Montreal. But after a backlash, several theaters in Quebec are planning to stage it.
The experimental director and avant-garde choreographer’s production — the first in the U.S. not to be based on Jerome Robbins’s choreography — will come to Broadway.
Martyna Majok’s intense drama will get a musical adaptation from Michael John LaChiusa, the Williamstown Theater Festival announced.
This immersive British import at Roy Arias Stages puts a crusty toilet in the center of the audience, but it lacks the film version’s sense of seamy tragedy.
Other presidents have dawdled, too, but President Trump is the first to go this long without awarding national medals in the arts and humanities.
Recent concert stagings of “West Side Story” and “On the Town” show the pitfalls — and solutions — for symphonic performances of these musicals.
In the National Theater’s adaptation of Stefano Massini’s play, three wondrous actors become multitudes.
The Dance on Camera Festival comes to Lincoln Center, and the Robin Williams documentary debuts on HBO.
Two plays at one of the city’s most important theaters make the case for accepting displaced people, as politics there is turning against them.
Previews, openings and some last-chance picks.
A former dancer, Mr. Johnson collaborated with Mel Brooks on several movies and once asked him, “‘Oh my God, are we allowed to show this?”
The first American production of “Fiddler on the Roof” in the language of the shtetl means training actors to hit the inflections, not just the notes.
This Swiss mime troupe’s show “you & me” is like the Muppets, but heavily influenced by French surrealism and a few psychotropics.
“Harry Potter and the Cursed Child” doesn’t use elaborate special effects. Its magic comes from movement, and Steven Hoggett is its wizard choreographer.
Radiohead returns to Madison Square Garden, the Boston Symphony Orchestra heads to its summer home and Ms. Childs restages her minimalist opus “Available Light.”
Fiery performances by Lia Williams in “The Prime of Miss Jean Brodie” and Adrienne Warren in “Tina” newly illuminate familiar female characters.
Defiance and justice drive this brisk staging from the Classical Theater of Harlem, directed by Carl Cofield.