A smarter, warmer, bolder revival of The Wiz remains tantalizingly out of reach.
In a series of challenging roles on the stage, Thomas is carving out a new life for himself.
Who are these characters anyway? Are they meant to be taken at all seriously, even on a metaphorical level?
Ultimately, this Antigone does what it espouses, appealing to our level heads rather than inflaming our passions.
In an age of nuance-less soundbite battles and bitter culture wars, the play is a rare and instructive antidote.
Gurney discusses how his plays have been labeled and the risk that often comes with putting so much of himself on the stage.
The aesthetic of the play flows into the acting by veterans of the Wooster Group and Elevator Repair Service.
Gallagher’s work has never gone stale because the actor keeps things both cool and committed.
For the past five years, director Sam Gold has been a standard bearer for seriously accessible American theater.
The Visit feels like a Grimm fairy tale conspicuously missing a moral.
Michael Cera discusses his newfound experience as a stage actor and Brooklynite.
When it comes to the subject of suicide, Every Brilliant Thing avoids nearly every pitfall.
The tall, diffident, Mississippi-born performer discusses the genesis of his mute but oh-so-expressive alter ego.
Where Side Show shines most brightly is in Emily Padgett and Erin Davie’s performances.
South Korean-born playwright Young Jean Lee both does and doesn’t traffic in subtlety.
Over the past decade, MacKinnon has become an expert at staging the work of, arguably, our greatest living dramatist.
Theater director Ivo van Hove has made a habit of breaching borders.
One way to recognize first-rate playwrights is to seek moments of surprising inspiration in their more unambitious plays.
generations offers a richer experience than its half–hour runtime would suggest.
While the visual spectacle brings a grand adventure vividly to life, the transition to the stage isn’t entirely rewarding.
The preternaturally talented Hunter practically defies credulity on stage.