NYT > Theater
“Mac Beth” actors wear school uniforms, Julia Michaels is at Bowery Ballroom, and Honor Swinton Byrne appears in “The Souvenir.”
From the shop floors of factories to ballet’s grandest stages, unions are rethinking how they balance their responsibilities in sexual harassment cases.
The film star is nominated for a Tony for “All My Sons,” a play with which she has a personal connection.
Things are tense and tingly enough before the curtain rises at any time of the year. What’s it like during prize season?
Nominated for 10 Tony Awards, the Lerner and Loewe musical will begin a national tour and may play London.
How does she stay so still? Is that scene really live? And how tall is that guy, anyway? We dig into the burning questions about Tony-nominated shows.
Jesse Eisenberg’s wobbly new play, which also stars Marin Ireland, casts Ms. Sarandon against type as a flamboyant suburban community theater diva.
The media mogul attended the Tony Award-nominated play with an entourage of past and present editors of the British tabloid depicted in it.
Fifty years into his stage career, André De Shields cherishes the ability to change what is to come.
The Irish Rep production of an O’Casey classic isn’t snazzy, but satisfaction comes from expert actors in complex roles.
The fall season at N.Y.U. Skirball Center will also include 10 interdisciplinary performance works by artists like John Kelly and Mette Ingvartsen.
The choreographer and performance artist Ann Liv Young is using her Bushwick apartment — and her daughters and animals — in her version of “Antigone.”
At the center of Chisa Hutchinson’s one-woman play, written for Audible, is a love triangle with just one side in view.
Laura Eason’s adaptation of the Jules Verne novel is a reminder of how to make stage magic from simple elements.
Adventurous directors and galvanizing performances made for unexpected — and very welcome — departures on what once felt like the Staid White Way.
The chief theater critics for The Times choose who they think should win and who should have been nominated.
Terry Kinney’s unbalanced Sam Shepard revival, with Maggie Siff and David Warshofsky, finds the prophecy in a wild and woolly play from the 1970s.
Adam Seidel’s play puts two songwriters in the same room, while the music industry watches out for its own economic interests.
Romeo Castellucci’s Tocqueville-inspired spectacle, presented by Peak Performances, offers highbrow style without the substance to back it up.