Theatre News

This hyper-magnified cabaret concert has the heat and dazzle of great balls of fire.

How the Atlantic found itself at an underground theater is a tale of nimble negotiating and real estate jujitsu.

The content of Mary Gage’s rewarding, well-structured play, which is based on interviews with Americans 80 and older, is unexpected.

Ms. LuPone sang with exciting power and warmth in this production at the Ravinia Festival, and the Chicago Symphony Orchestra played with a clarity that made you take notice.

In Fort Greene, a reorganization of development power and a "ninth-inning good idea" for a theater site.

This production offers us an imaginative journey to the heart of the Persephone myth, and a vision of the way that humans tell stories to give life meaning.

Strange as it may sound, Ms. Jones's performance was simultaneously unsuccessful on a technical level and beautiful to behold.

The Orchard Project, a new arts group, will try to serve theater entire companies who create work collaboratively.

New York State Athletic Commission chairman Ron Scott Steven's dual existence has found him regulating boxing while writing plays.

This show is part cabaret, part circus and the main event at the Spiegeltent that has been set up just north of Pier 17 at the South Street Seaport.

Adults shouldn't hold back from seeing Lucas Caleb Rooney's “Creation: A Clown Show!"

The first decapitation gets a laugh. The shadow puppets are hits. But Michael Voyer’s innovative martial-arts fantasy is all about the battles.

As the team behind the play “The Infliction of Cruelty” discovered, the New York International Fringe Festival is a learning experience for everyone.

As slight as it is sweet, A. R. Gurney’s modest memory play is endowed with a measure of emotional heft by its unchallenged but unusually strong cast.

Zuzana Justman is bringing her brother J. R. Pick’s 1982 play, about life in the Terezin concentration camp, to the New York International Fringe Festival.

Unless federal and state agencies come to some agreement about its financing, the National Theater of the Deaf may be unable to carry on much longer.

As slight as it is sweet, A. R. Gurney’s modest memory play is endowed with a measure of emotional heft by its unchallenged but unusually strong cast.

The National Asian American Theater Company’s production of Pierre de Marivaux's play is an enchanting piece of theater.

This sweet-spirited revival has a limpidness that lets you perceive the play’s themes and patterns in ways that a more ambitious, aggressively acted production might not.

Anyone who sees Wendy Beckett’s “Anaïs Nin: One of Her Lives” without knowing about Nin’s affair with Henry Miller and his wife, June, would be hard pressed to identify the period.