Slinking and popping like no one else.

Beanie Feldstein takes the titular role.

Before 2020, theater often felt inaccessible to me, a luxury for those who were more able-bodied or lived in certain cities. Now I’m obsessed.

A fresh look at the decade’s biggest Broadway smashes.

Many are working behind the scenes, but no one’s willing to get in the spotlight.

There was very little he thought a musical could not do.

James Grissom says that he met the playwright and his famous muses, and quoted them extensively in his work. Not everyone believes him.

Spidey and Hamilton, Gatz and Is This a Room and Slave Play, and so much more.

Government bailouts saved the automotive and banking industries. American theater is in similar trouble and deserves to be saved.

An artistic genius on the level of Shakespeare, his work transcended the theater.

David Adjmi’s cult-hit play features seventies-inspired rock songs by Will Butler, while Eddie Redmayne presides over a demonic version of the Kit Kat Club.

At all but the largest downtown institutions, a few weeks’ closure can wipe out years of exhausting work.

Tony Kushner and Jeanine Tesori’s musical was ahead of its audience in 2003.

Any list of great American playwrights is incomplete without her — she saw deep into history, into the theater, into blackness, into whiteness.

Michael Urie’s short-run online benefit performance that works.

A musical full of cross-dressing tries to meet the moment without sacrificing blockbuster appeal.

A big Broadway house doesn’t diminish any of its power.

The actor, a fixture of New York’s experimental-theatre scene, did not “become” his characters; he stood, somehow, next to them, amused and delighted.

An awkward reinvention with some of the brilliance intact.

In the playwright’s début film, “Janet Planet,” Julianne Nicholson stars as an object of obsession for her daughter—and everyone else—over the course of a long, hot summer in western Massachusetts.

Brilliant casting and a palpable sense of joy make old stories feel new.

The bloody Broadway mess that was Dance of the Vampires.

In 1990, an indie drama about an anti-authoritarian pirate radio DJ obsessed with masturbation jokes signaled a wave of mutilation that was cresting over American culture. Thirty years later, it...

How to light, how to stage, which phone camera to use.

Peter Marks’s departure from the Washington Post is only the latest sign that too many of us have taken the importance of reviews for granted for too long.

Any list of great American playwrights is incomplete without her — she saw deep into history, into the theater, into blackness, into whiteness.

The downtown theater company is in crisis.

A misbegotten match from the start.

“We were giddy.”

The Village Voice reviews 'peerless,' a new play riffing on 'Macbeth' in which getting into a good college can be murder.

This new development is part of a disturbing trend, with producers of new work and experimental theatre shutting their doors.