NYT > Theater
Getting in character for “The Last Match,” the cast gets a tennis lesson from a former pro before taking the stage.
“Macbeth Muet” is a frolic through tragedy with puppetry, while “Makbet” is a darkly gregarious production (shots included).
“Mary Jane” is a portrait of a mother’s relationship with her chronically ill young son. Carrie Coon of “The Leftovers” stars.
How the playwright James Graham and the actor Bertie Carvel give the media mogul a fair hearing in a play that takes a hard look at populism and the press.
She’s done with Bond but back in play for “Victoria & Abdul,” dating a jolly nice chap and giving Iago higher marks than Trump.
In a visit to BAM, the stage director Olivier Py introduces his drag alter-ego and talks about plans for the Avignon Festival he runs.
The musical starring Patti LuPone and Christine Ebersole will have its final show on Dec. 30 after 300 performances.
In this pop-culture twist on burlesque, performers put on tributes to movies and shows like “Doctor Who.” Not a fan? You can still admire the dancing.
Loosely inspired by a true story, Dan McCormick’s play “The Violin” follows a lost Stradivarius that falls into greedy hands.
Monica Bill Barnes and Anna Bass explore friendship, competition and endurance in a show that mixes physical exertion and mischievous humor.
Six actors in search of K-pop authenticity star in a new musical that looks at the entertainment factories that produce genre-busting superstars.
Times readers disagreed with our decision not to include the obscene name of a play in our review of it. Our standards editor explains our policy.
The producers of the closed Broadway musical will open Samovarchik, the foods of the samurai and more news.
A transgender etiquette expert faces pupils who have bigger issues than what fork to use in Philip Dawkins’s new play.
The National Black Theater production of Liza Jessie Peterson’s monologue explores the personal and societal costs of mass incarceration.
The play, about a single mother with five children, explores the dimensions of American sexual and societal guilt in a first-rate revival.
Set in a real home, an unnamed woman cooks while she relates piercing tales about the horrors in Syria.
A singing actress known for performing work by contemporary composers, Ms. Lewis originated signal roles in the opera house and on the Broadway stage.