Theatre News

Sarah Ruhl's sensational "Eurydice," at the Yale Rep, finds beauty in the heart of darkness.

Neil LaBute's play "Fat Pig," at 12 Miles West Theater Company in Bloomfield, N.J., is a love story featuring an overweight woman.

Cornelia Evans will leave her job as director of major and planned gifts for Yale-New Haven Hospital and become director of development at the Long Wharf Theater in New Haven.

Al Hirschfeld immortalized the stars of the stage. Robert Miles Parker immortalizes the playhouses where they performed.

Thaddeus Phillips is proving that he could have been a great silent-film comedian in “¡El Conquistador!,” an ingenious one-act, one-man show about a hapless Colombian doorman.

The “promised end” comes with disarming swiftness in the Classical Theater of Harlem’s new production of “King Lear,” starring André De Shields.

Henrik Ibsen’s “Peer Gynt,” a long and complicated tale, was telescoped into an English translation at the Delacorte Theater in Central Park on Thursday.

A night out with "Chorus Line" cast members.

Ron Rosenbaum conveys the “unbearably pleasurable” state brought on by Shakespeare’s work.

In providing us with an archivally and anatomically correct reproduction of a landmark show, the creators of this revival neglected to restore its throbbing heart.

Selective listings from theater critics of The New York Times.

The Rev. Keenan Roberts is producing one of his fire-and-brimstone expositions, called Hell Houses, in one of the most secular corners of the universe.

Richard M. Nixon is portrayed with captivating relish by Gerry Bamman in the MCC Theater revival of Russell Lees's still-savory political satire.

Lloyd Richards, who discovered August Wilson and nurtured a generation of playwrights and actors, was one of the most influential figures in modern theater.

Dry-eyed if not quite clear-eyed, David Folwell’s new play leaves barely a bruise, let alone a buzz, in its wake.

As informative as it is, this documentary portrait of the playwright Tony Kushner doesn’t have time to do more than scratch the surface of its fascinating subject.

La MaMa E.T.C. is remounting Sam Shepard's 1983 rock concert production of "The Tooth of Crime" to celebrate its 45th-anniversary season.

This production suggests that Tina Howe's 1972 play was not so much ahead of its time as 10 years behind it.

Isabel Bigley won a Tony Award in 1951 playing Sarah Brown, the Salvation Army missionary who falls in love with a handsome gambler in the raucous Broadway hit “Guys and Dolls.”

Sarah Ruhl's devastatingly lovely theatrical gloss on the Orpheus myth may just be the most moving exploration of loss that the American theater has produced since 9/11.