To honor the million-plus Black Africans who died in World War I, the South African artist uses opera, theatre, dance, video, and a dose of Dada.
A bio sums up Rodgers & Hammerstein’s achievement, and Andrew Lloyd Webber’s memoir is surprisingly lively.
You can’t just dip into the best, most compulsively readable book ever written about the art and sweat of making theatre (though you may skip a few parts).
By flipping a few genders, Marianne Elliott’s new London revival turns Sondheim and Furth’s classic into a meditation on modern relationships.
New memoirs by British directors Nicholas Hytner and Dominic Dromgoole run the gamut, and the Globe.
In her boundary-breaking, civically engaged play, Heidi Schreck shows that a woman telling her story is a political, and powerful, act
Has theatre wounded me as much as or more than it’s healed me?
It’s time to answer some common questions about the union’s role and responsibility in the age of #MeToo.
Two new revivals—one ebulliently LGBTQ, another brooding and immersive—make this musical warhorse run in new directions.
Under a.d. Tim Carroll, Niagara-on-the-Lake’s company honors its namesake with new work, complementary programming, and even—zounds!—a Shakespeare.