In a Roundabout revival of the nearly 40-year-old play, it holds up as a withering portrait of the myths and traps of American masculinity.
It wasn’t quite the season of our discontent, but this year’s January festivals felt a bit less binge-able than usual, despite the high points.
New York’s annual experimental theatre sampler boasts plenty of chills and frills, but the real attraction is carefully crafted mayhem.
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.
In her boundary-breaking, civically engaged play, Heidi Schreck shows that a woman telling her story is a political, and powerful, act
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.