Samuel D. Hunter’s creaky play about the downsizing of the American West features terrific performances by Judith Ivey and Edmund Donovan.
NYT > Theater
A Los Angeles institution has a new home. Join us for a behind-the-scenes tour.
At the new Cirque Mechanics show, the revolving ring, rotating ladders and spinning swings might not thrill, but the performers do.
The $21 million musical will be hoping for a new home after the Shubert Organization made way for Hugh Jackman and ‘The Music Man.’
Stephen Adly Guirgis’s bumpy, vibrant and expansive comic drama about a women’s homeless shelter features a cast of 18 (or 19, counting the goat).
Shows that defied categorization offered a stark choice: Escape an angry world, or face up to its travails. Beyond Broadway, writers explored race, inequality and addiction.
In its sixth year on Broadway, “The Illusionists” serves up familiar routines, but two smaller shows deliver egghead charm and brainy sleight-of-hand.
A roundup of events in every borough, from the Radio City Christmas Spectacular in Manhattan to the annual Holiday Train Show in the Bronx.
An excursion into the Theater of Lists at St. Ann’s Warehouse proves to be both original and exasperating.
The busy character actor was also known for “Benson,” “Boston Legal” and several Broadway roles.
This cryptic play at the Brick Theater examining a certain kind of mythological American noir is wonderfully flabbergasting, and often genuinely creepy.
In addition to his acclaimed turn as Roy Cohn on Broadway, he was known for his work in “Norma Rae,” “Slaughterhouse-Five” and other films.
Alanis Morissette’s “ironic” fury finds a perfect Broadway musical setting in Diablo Cody’s fiery indictment of, well, everything.
Previews, openings and some last-chance picks.
Jennifer Tipton, a lighting designer who works in dance, theater and opera, is this year’s recipient of the award from the Baryshnikov Arts Center.
The genre has long been seen as minor in the French capital, but a string of English-language productions is creating a pleasingly upbeat dynamic.
George Eastman’s Off Broadway play is lifted by its direction and performances, but often feels like a cornball sitcom.
Inua Ellams’s energizing, globe-traveling play considers the barber’s chair as the black man’s confessional.
More than 20 countries have sent over 100 productions, including large-scale works by some of the hottest directors. So why have so few heard of the event?
Lynn Nottage describes her first trip to West Africa, and her search for the perfect keepsake.