The show has trouble leaning into kick-ass naughtiness for more than a few minutes at a time.
Lucas Hnath’s indictment of Disney is both clever and total.
While all the elements have been cooked to perfection, what sticks to the ribs is the hint of rawness at its center of things.
The best Off Broadway productions so far this year would probably make lousy movies.
We sat down with Beane in the historic Lyceum theater to talk about his works now playing on Broadway.
Even when The Whale wanders into heavily fished waters, it still comes up with fresh revelations and bracing truths.
It takes some nerve for a playwright to adapt a fellow playwright’s work, especially since most reworkings come a cropper.
Mandvi talked to us recently about the play and his role as the lawyer.
O’Hara spoke to us recently about his collaboration with actor-playwright Colman Domingo.
Satchmo at the Waldorf becomes the story of Louis Armstrong’s life as he probably would have liked it to be told interpersonally
Thomas is back on Broadway in the Manhattan Theatre Club’s revival of Henrik Ibsen’s An Enemy of the People.
Adjmi keeps his audience on its toes by constantly demonstrating how hysterical laughter can signal trauma.
We recently spoke with the actor about his career and his current role.
At La MaMA, a group of downtown artists have concocted a theater piece that aims to take the sting out of death.
We recently caught up with Kahane and Bockley to chat about February House, a musical based on Sherill Tippins’s book.
You could call it a tragicomedy of mistaken identities.
The most dramatic thing that happens in playwright Amy Herzog’s 4000 Miles occurs at the beginning of the play.
Broadway openings are like yellow-rumped warblers.
An Iliad pleads for both the victors and the vanquished to be remembered and honored.
When it comes to The Lady from Dubuque, “perhaps” is the operative word.
Katori Hall ’s work is remarkable for her keen ear for wisecracks and irreverent, self-deprecating humor.