NYT > Theater
Lynn Nottage’s barbed satire looks at the narrow options offered African-American actresses in a movie industry that can’t shake stereotypes.
This revival of Stephen Sondheim’s musical, about a Broadway composer who sells out to Hollywood, is not so much stripped-down as emaciated.
Ms. Ferreira, who kept singing well into her 90s, brought Broadway musicals to Brazil and made the music of Édith Piaf and Frank Sinatra her own.
A celebration of the “My Fair Lady” lyricist and librettist offers audiences a chance to reconsider one of his biggest flops.
Borders, formerly president of the WNBA, is leaving Time’s Up for family reasons after four months in the position.
Revivals of work by Pinter and Miller — and a play about an Englishman roped into an Italian horror movie — ponder mortal anxiety in the age of Brexit.
Leegrid Stevens’s play follows an astronaut on her journey to Mars, as she checks her air pressure, fuel levels and mental health.
There are plenty of earworms in this jukebox musical about Peter Noone of Herman’s Hermits, but the hackneyed love-triangle story lowers the volume.
There’s more to the show than banging on a can. Ask George Lucas, Hillary Clinton — and the performer who’s been doing it for 20 years.
Arts writers for The New York Times share their strategies (snacks) and budget-friendly options (outdoor events) in a discussion about introducing children to the arts.
Classical concerts, children’s film series and a festival where technology meets art are among the events that can keep young minds occupied (and having fun) through a school sabbatical and beyond.
“When Angels Fall,” at Peak Performances, and “Non Solus,” at the Brooklyn Academy of Music, blend circus with dance in feats of perfect equilibrium.
The brash saxophonist performs at the Apollo; Season 2 of “At Home With Amy Sedaris" begins; and the Spanish dancer returns to Manhattan.
In “Sea Wall/A Life,” at the Public Theater, a pair of monologues gives the two stars ample opportunity to shine and mourn.
The estate attributed the change in plans to labor issues and not a forthcoming documentary detailing abuse allegations against the late pop star.
The writer-actress behind the wild, disorienting comedy of “Fleabag” and “Killing Eve” is bringing her sneak-attack humor to New York.
The Moscow Pushkin Drama Theater, on a short visit to Britain, impressed with Brecht’s “The Good Person of Szechwan,” but fell short with Chekhov’s “The Cherry Orchard.”
This London adaptation of the Oscar-winning satire, starring a misused Gillian Anderson and Lily James, is like a horror movie without a pulse.
The choreographer Camille A. Brown deftly uses the tradition of step to add “a heartbeat to the story” of Tarell Alvin McCraney’s musical play, now on Broadway.