NYT > Theater
The actor left the stage soon after playing Lear in 1986. Now 80, he is giving it another go, in a made-for-television film directed by Richard Eyre.
Janet McTeer plays Sarah Bernhardt as the Prince of Denmark in Theresa Rebeck’s muscular new play about gender limitation and possibility.
Craig Lucas’s play — about deafness, gayness, addiction, disease, faith and philosophy — puts a modern family to the test.
Stefano Massini’s poetically cadenced portrait of the life and death of the Russian journalist Anna Politkovskaya lets facts speak for themselves.
In a piece she describes as “sort of a play,” the poet and singer journeys through her past, with a little help from her children.
His 1994 play about a hedonistic 17th-century nobleman became a vehicle for Johnny Depp and John Malkovich.
The playwright’s little-known artworks provide an intimate look at his preoccupation with eternal questions and his feeling of being an outsider.
Hanya Yanagihara’s best-selling novel includes many disturbing scenes. In a new production in Amsterdam, the director Ivo van Hove puts that cruelty center stage.
Albany politics in 1977 may not seem very scintillating. But Ms. Falco brings out the buried drama of an ambitious woman in a man’s political world.
Lucas Hnath’s Ibsen sequel will be seen at 27 theaters, and work by women is dramatically represented on American Theater magazine’s annual tally.
Arthur Miller’s tragic World War II drama is to return to Broadway next spring via the Roundabout Theater Company.
She helped the famed director Peter Brook start an influential theater group in Paris and mount major productions like “The Mahabharata.”
Rob Roth’s new multimedia show uses video to try to capture the relationship between an obsessive fan and the actress who’s the object of his fantasies.
In plays like “Intractable Woman,” about a murdered investigative journalist, Stefano Massini seeks to create a “biopsy of reality.”
Bobby Cannavale is a showy journalist, Daniel Radcliffe a stickler for the truth. In “The Lifespan of a Fact,” their face-off takes on epic proportions.
A crop of new works written by their directors — or maybe directed by their playwrights — is lighting up stages in Berlin and Frankfurt at the beginning of the theater season.
A woman hunts for her former foster brother. Was he, like so many young black men, a victim of drugs or police or violence? Or did he just disappear?
What’s inside Agnes de Mille’s unopened 1963 letter? Rather than peeking, an organization is commissioning new work in her honor.