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Mr. Glines was a producer who was committed to plays with gay themes and instrumental in bringing them into the mainstream.
A Broadway hoofer who went to Hollywood to tutor William Holden, Kim Novak, Ingrid Bergman, Jerry Lewis, Tuesday Weld and Jane Fonda, to name a few.
Ben Brantley and his London counterpart Michael Billington find much that’s enthralling about the state of playwriting in their countries.
There are hundreds of shows to see in the Edinburgh International Festival and its ancillary Fringe event. But finding the good ones can be hard work.
This wan resuscitation of the 1990 movie about a Cinderella prostitute is likely to make you nostalgic for Julia Roberts’s original performance.
The New York International Fringe Festival will be split into two, with one slate in Manhattan and a “bring your own venue” slate in the other boroughs.
The outdoor drag festival will feature Lady Bunny and Neil Patrick Harris on Sept. 1 at Pier 17 in Lower Manhattan.
The pair will co-star in a revival of “Burn This” by Lanford Wilson, which comes to Broadway in March.
Jen Silverman’s harrowing “Dangerous House” and a revival of “West Side Story” join a conversation about racial and sexual violence.
A production with same-sex leads is one of many signs that directors are approaching the Rodgers and Hammerstein classic with new eyes.
A new “original” musical is usually something to welcome, but when it’s a Frankenstein monster created from spare parts, maybe stay out of its way.
Stephen Payne, a longtime understudy, gets his first Broadway starring role in “Straight White Men.”
The Shake & Bake theater company brings “Love’s Labour’s Lost” to the meatpacking district, and dinner is included with the ticket.
Jonathan Leaf sticks close to historical fact in his ambitious new verse play, but the action in this production always feels removed, like a diorama.
Roslyn Ruff gives a wondrous performance in the Williamstown Theater Festival revival of the Carson McCullers play.
Naming a show can be tricky. Some recent titles are obscure, others extremely long. And then there’s the weird punctuation. What’s going on?
This high-energy, high-anxiety musical, a hit on social media even before it opened, reflects the metabolism of its teenage audience.