Review: In ‘Mother Play,’ Paula Vogel Unboxes a Family Story
Jessica Lange stars as a ferocious matriarch alongside Celia Keenan-Bolger and Jim Parsons in Vogel’s latest family drama.
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Jessica Lange stars as a ferocious matriarch alongside Celia Keenan-Bolger and Jim Parsons in Vogel’s latest family drama.
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This musical adaptation, now on Broadway, is a lot of Jazz Age fun. But it forgot that Fitzgerald’s 1925 novel endures because it is a tragedy.
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Alternating between funny and bleak, the Public Theater’s latest production tackles race and the modern workplace.
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The parody show was scheduled to begin performances in July at the Helen Hayes Theater.
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‘Harlequin, Refined by Love’ Review: A French Showman’s First Steps
The revival of a 2006 work by Thomas Jolly, the director masterminding the opening ceremony at the Paris Olympics, shows his gift for visual flamboyance.
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Review: Welcome to ‘Illinoise,’ Land of Love, Grief and Zombies
Sufjan Stevens’s 2005 concept album has become an unlikely and unforgettable dance-musical hybrid, directed and choreographed by Justin Peck.
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Review: Steve Carell as the 50-Year-Old Loser in a Comic ‘Uncle Vanya’
Sleek, lucid, amusing, often beautiful, it’s Chekhov with everything, except the main thing.
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Alicia Keys on Reimagining ‘Fallin’’ for Broadway
The singer talks about finding a new home for her first hit.
By Alex Barron, Lynn Levy, Michael Paulson and
Is New York Improv Back? I Went on a One-Week Binge to Find Out.
The pandemic dealt a major blow to the once-thriving comedy form, but a new energy can be seen in performances throughout the city.
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‘Mary Jane’ Review: When Parenting Means Intensive Care
Amy Herzog’s heartbreaker arrives on Broadway with Rachel McAdams as the alarmingly upbeat mother of a fearfully sick child.
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How a Broadway Theater Was Remade Into a Queer Cabaret
The set and costume designer Tom Scutt has conjured a surreal, New York-inspired version of the fictional Kit Kat Club for the latest revival of the 1966 musical “Cabaret.”
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‘Orlando’ Review: A Virginia Woolf Fantasy That Plays With Gender
In this revival of Sarah Ruhl’s adaptation of the Woolf novel, now starring Taylor Mac, the flashes of comedy can’t make up for the loss of poetry.
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‘Oh, Mary!,’ a Surprise Downtown Hit, Will Play Broadway This Summer
Cole Escola’s madcap comedy about the former first lady Mary Todd Lincoln will begin performances in June.
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In a Pair of ‘Macbeth’ Productions, Only One Does Right by the Lady
One of Shakespeare’s most coveted roles for women gets different interpretations onstage in New York and Washington.
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This past week has been jam-packed with openings. Our reviewers think these new shows are worth knowing about even if you’re not planning to see them.
By The New York Times
She made a classic wig and poodle skirt for “Grease” (using a bath mat and a toilet cover) and turned actors into Spanish inquisitors, British highwaymen and more.
By Alex Traub
He was a rare Black presence on “Combat!” and “The Phil Silvers Show,” then made well-regarded documentaries on luminaries like Duke Ellington and Katherine Dunham.
By Robert D. McFadden
The new musical doesn’t take itself too seriously and has many winning moments — almost enough to eclipse the weaknesses of its story.
By Elisabeth Vincentelli
A party for the buzzy revival of the Broadway musical was held at a theater that has been transformed to look like a 1930s-era nightclub.
By Sarah Bahr, Melissa Guerrero and Jutharat Pinyodoonyachet
Michael Stuhlbarg and Will Keen shine as a kingmaker and his creature. But in Peter Morgan’s cheesy-fun play, it’s not always clear which is which.
By Jesse Green
At St. Ann’s Warehouse, this documentary play about a London fire is blood-boiling and aggrieved.
By Laura Collins-Hughes
The new Broadway play conjures a group as dazzling as peak Fleetwood Mac. This is how five actors with limited training (one never held a bass) became rock stars.
By Alexis Soloski
Eddie Redmayne and Gayle Rankin star in a buzzy Broadway revival that rips the skin off the 1966 musical.
By Jesse Green
The retooled jukebox musical, with its top-notch performances and exciting choreography, “stands out as one of the rare must-sees” in a crowded season.
By Elisabeth Vincentelli
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