Review: Martin McDonagh’s The Beauty Queen of Leenane at BAM

The revival of Martin McDonagh’s The Beauty Queen of Leenane is a funny and crushing production.

Review: Natasha, Pierre & the Great Comet of 1812 with Josh Groban

The show gravitates toward campy burlesque, but the creators have their fun and eat it too.

If They Could See Her Now: Director Leigh Silverman on Sweet Charity

Silverman discusses her current production and her relatively new foray into the world of musicals.

Review: Cirque du Soleil’s Kurios: Cabinet of Curiosities at Randall’s Island

It provides a clear and winning way in which to wring magic from the old, and features several stunning illusions.

Interview: Peter Brook on Battlefield and His Return to The Mahabharata

From his home base in Paris, Brook discusses bringing back The Mahabharata to BAM in the form of Battlefield.

Richard Nelson on The Gabriels and the Hunger of Politics and Family

When we sat down with Nelson, he was in the midst of rehearsing What Did You Expect?, the second play of his current cycle at the Public.

Interview: Playwright Bess Wohl and Director Rachel Chavkin Talk Small Mouth Sounds

We talked recently with Wohl and Chavkin about their collaboration on this unusual and compelling theater project.

A Streetcar Named Desire at St. Ann’s Warehouse

Round and round Gillian Anderson’s Blanche DuBois goes, and where she stops, everyone knows.

The Longest Day: Long Day’s Journey into Night

This production is shadelessly lit for much of its runtime, evoking the drama’s openness, or at least its frankness.

Totally Psycho: American Psycho

I was so stunned by how many fucks it didn’t give that I stopped wondering if I was laughing with it or at it and wondered if my laughter transcended it.

An Archeologist on a Musical Dig: George C. Wolfe on Shuffle Along

Wolfe discusses the legendary musical from 95 years ago and what fires his enthusiasm for this current Broadway production.

Interview: Sanjit De Silva Talks Race, Acting, and His Role in Dry Powder

Like a Harp String Breaking: The Cherry Orchard at BAM

The bracing final moment, in which the servant Firs discovers he’s locked in the house, is a coup de theatre.

Quiet on the Midwestern Front: Louis Jenkins’s Nice Fish

The stage is an icy expanse and the narrative and the lives of its characters are just as flat as this Midwestern freeze.

Occupied France Revisited: Richard Thomas and Michael Wilson Talk Incident at Vichy

In a series of challenging roles on the stage, Thomas is carving out a new life for himself.

No Fourth Wall Allowed: Sibyl Kempson’s Fondly, Collette Richland

Who are these characters anyway? Are they meant to be taken at all seriously, even on a metaphorical level?

Scenes from the Elemental: Antigone at BAM

Ultimately, this Antigone does what it espouses, appealing to our level heads rather than inflaming our passions.

Shades of Loneliness: Lucas Hnath’s The Christians at Playwrights Horizons

In an age of nuance-less soundbite battles and bitter culture wars, the play is a rare and instructive antidote.

A Conversation with Love & Money Playwright A.R. Gurney

We sat down with Gurney to discuss his latest work, how his plays have been labeled, and the risk that often comes with putting so much of himself, and his family, on the stage.

Charting an Even Unfeeling: Richard Maxwell’s Isolde

The aesthetic flows into the acting, by veterans of the Wooster Group and Elevator Repair Service, two companies committed to atypical theater.