When a gassy essayist and a pesky researcher are forced together by a crusading editor you get a topical comedy with a lot to prove.
In Jane Anderson’s satisfyingly old-fashioned play about Joan of Arc’s mom, Ms. Close shows the stuff of which great stage stars are made.
A downtown theater has cleared the house to make room for Samuel D. Hunter’s pairing “Lewiston/Clarkston.”
Portraying a celebrated art historian with two resentful sons, Ms. Channing finds the anguished heart in a didactic comic drama.
Can a drama about the nature of consciousness be emotional, too? For its latest production, he’s tinkered with the script to firmly answer yes.
Donja R. Love’s fantasia on the married life of a great civil rights orator suggests the price paid by the woman who gives him his voice.
“Sakina’s Restaurant,” which put him on the map, has new resonance, which is why he’s summoning the energy to play all its roles all over again.
It took persuading, but Jez Butterworth wrote his new play for his partner, Laura Donnelly, both to honor her history and give her a great part.
Three eras, three plays drawn from real life. But the same old double standard.
Condescend at your own risk to Sophia Anne Caruso, the go-to girl for adventurous stage roles. “Even from a young age,” she says, “I had very finicky taste.”
In a turnabout no one expected, New York’s most prominent stages are rich with drama, most of it new and most of it American.
Can tiny companies thrive in the shadow of major institutions? In this theater-mad city, the question may actually run the other way.
A stripped-down, communal version of the 1943 musical reveals a great complex work of theater, with chili and cornbread included.
Bill Irwin blurs the lines between clown and dramatic actor in an insightful anatomy of the works of Samuel Beckett.
At the New-York Historical Society, a glimpse of the folkloric, cultural and scientific influences on the magic of the popular series.
Still waiting for her signature role, the versatile Rebecca Naomi Jones is changing things up in a stripped-down new staging of the musical classic.
Conor McPherson’s bleak tale of a Minnesota boardinghouse in the Great Depression finds a luminous transcendence in the Dylan song book.
Richard Bean’s comedy about a wayward attempt to fix a snooker match tickles its audiences into contentment.