NYT > Theater
Mr. Storey’s plays often reflected Britain’s class tensions but resonated with audiences around the world and with people of all backgrounds.
In this harshly funny performance piece, a stand-up artist translates thoughts about Latino history into hyperkinetic action.
Backers cite projects like expanding arts therapy for veterans to rebut calls for defunding the agencies.
Excerpts from Elfriede Jelinek’s “On the Royal Road: The Burgher King,” a work inspired by the president, will be presented in New York on Monday.
How a set designer conceived an evolving, revolving new look for “The Hairy Ape" at the Park Avenue Armory.
Lynn Nottage’s bracingly topical play explores the working-class anger and anxieties that put Donald J. Trump in the White House.
This play about Samuel Beckett and Andre the Giant is based on fact and the imaginings of the playwright Gino Dilorio.
The sound designer Ben Williams talks about the sonic elements that inspired his work on the play “The Terrifying,” at the Abrons Arts Center.
The singing scenery of “Miss Saigon” is back on Broadway, with political corrections and a newly proportioned cast.
After a Wednesday matinee, Jessica Weeks and John Bryant, more comfortable behind the scenes, took center stage to say, “I do.”
Irish Repertory Theater has brought back Ciaran O’Reilly’s revelatory production of O’Neill’s 1920 play, with an almost entirely new cast.
For the actress, a tidy alcove studio carpeted in silvery white has room enough for everything that really matters.
Trevor Nunn presents an uneasy hybrid of the Terence Rattigan work, while a new play about the origins of the S.D.P. is punchy and vibrantly directed by Polly Findlay.
Cole Porter’s lost musical from 1930 raises a glass to the giddy heyday of Prohibition and high (really high) society.
Carol Channing originated the musical role of Dolly Levi and was considered irreplaceable. Now Bette Midler steps into a long line of her successors.
The three British actors behind this farcical mystery discuss the comedy and the thrill of possible injury in a performance.
‘In the Body of the World’ and ‘Actually’ will be part of this theater’s 2017-18 season and part of the discussion about gender imbalance on Broadway.
The Belgian playwright Ismaël Saidi writes comic plays that tour France and Belgium, and offer a message of multicultural tolerance.
The center is seeking visas for several artists with Syrian passports for Mohammad al-Attar’s “While I Was Waiting.”
Lynn Nottage and Paula Vogel, both Pulitzer winners, will finally make their Broadway debuts this spring. What does that say about the plight of women writing for the stage?
An impassioned and overloaded documentary drama by Leigh Fondakowski explores the Deepwater Horizon disaster of 2010.
“Julius Caesar” and “X: Or, Betty Shabazz v. the Nation” illuminate each other as they run in repertory at the New Victory Theater.
In “946: The Amazing Story of Adolphus Tips,” Emma Rice directs a fanciful adaptation of another novel by Michael Morpurgo, the author of “War Horse.”