How three Broadway actresses capture the essence of one superstar: Thank the costumes, “Burlesque” — and white teeth.
NYT > Theater
Four times recently he’s stopped his solo Broadway show to make his feelings known — gently but firmly. Getting too angry can backfire.
The one-woman play by Phoebe Waller-Bridge will have a five-week run at SoHo Playhouse in the spring.
New York City Center’s gala production of the musical is being staged by Bob Avian and Baayork Lee, who have been with the show since its inception.
The archive of Ruby Dee and Ossie Davis, now at the Schomburg Center for Research in Black Culture, traces more than 60 years in the theater, in the movies and at the front lines of social activism.
After eight years of development, a peppy musical about the value of persistence proves its own point.
Mr. Sanders, a veteran of four decades of stage and screen work, is giving the performance of his career in his first appearance in Chekhov.
In Oliver Butler’s revival, Will Eno’s reputation-making monologue of masochistic bleakness suddenly feels a lot less shocking.
The novelist’s first play, “Happy Birthday, Wanda June,” is proving its resonance — and some nights, too much so — in a timely new revival.
Hansol Jung’s industriously imaginative play uses visions of winged flight to explore the loneliness of two ambivalent lovers in Seoul.
John Doyle’s inventive revival of Brecht’s 1941 satire about Adolf Hitler is more impressive for theatrical ingenuity than topicality.
The unexpectedly popular production has already been extended four times at its original home, the Museum of Jewish Heritage.
Ms. Evans succeeds Tom Ridgely, one of the downtown theater company’s two founders.
Mr. Rain was a regular on the stage at the Stratford Festival for decades, but he was perhaps best known for his chilly voice in “2001: A Space Odyssey.”
Andrew Barth Feldman is to take over the role in “Dear Evan Hansen” on Jan. 30.
This one-man show, about the anxieties of impending fatherhood, makes a seductive case for seeing a comedian live in the age of Netflix.
In Lauren Gunderson’s issue play, Pascale Armand plays an insurance agent in a risky scenario.
The highly physical Irish actor Aaron Monaghan came late to Beckett, and is young to portray Estragon. But the role fits (even if the shoes don’t).
With 350 pieces, the Warhol retrospective at the Whitney sets aside the icon’s persona and focuses on his art.
Among a range of plays in London exploring racial tensions, an adaptation of Zadie Smith’s novel stands out for its positive view of the city’s multicultural life.
The one-ton, 20-foot marionette is impressive, but the $35 million musical he stars in doesn’t even succeed as camp.
The theater had fired the previous artistic director, Gordon Edelstein, over sexual misconduct accusations.
Previews, openings and some last-chance picks.
The former head of Tate Modern had to resign from his last job after protests. France’s culture ministry said he will take over one of the country’s largest exhibition spaces.