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.
Matthew Lopez’s two-part epic uses E.M. Forster as a template and is playing in London, but this sweeping, imperfect play is unmistakably American.
By doing such vital work by living playwrights, this classical destination theatre with Shakespeare in its name effectively puts them on equal footing with the Bard.
‘The Wolves,’ ‘Dance Nation,’ and ‘School Girls,’ all by young female playwrights, show girlhood in all of its complexity and ferocity.