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The streets of the West Village provide a lovely background for this warmhearted and well-researched tribute to the birth of Off Off Broadway.

Patrick Quinn was about to become the first new executive director of the Actors’ Equity Association in 25 years.

Here are my informal and not-meant-to-be-eternally damning reactions to some of the shows I saw in the first 10 days or so of the New York Musical Theater Festival.

Audra McDonald's new album, "Build a Bridge," carries her further into contemporary pop than she has ever ventured.

Selective listings from theater critics of The New York Times.

Six of the 19 principal performers in the revival of "A Chorus Line" speak about their characters, their own stories and what has changed about growing up and getting to Broadway.

A once-lost work by Tennessee Williams reveals the young playwright writing about his love life without disguise or subterfuge.

Stephen Sondheim discusses his experiences as an apprentice 56 years ago at the Westport Country Playhouse in Connecticut.

There is a hint of “Death of a Salesman” in Julia Cho’s poignant new play.

In Robert King’s new play, “The Best Man,” neither the bride nor the priest who is to perform a wedding ceremony ever makes an appearance.

It is amazing that the profoundly urban “Urinetown,” born at New York’s outrageous downtown Fringe Festival and later landing on Broadway, has turned up in regional theater.

The Peculiar Works Project is marking the work of early downtown theatrical pioneers with a walking tour that will meander through Greenwich Village.

The Peculiar Works Project is marking the work of early downtown theatrical pioneers with a walking tour that will meander through Greenwich Village.

Bruce Norris has written an often funny but tough-to-stomach social satire that is seriously marred by overstatement.

Frustrating but witty, "WASPs in Bed" would make a clever sitcom.

Joseph Hayes wrote the novel “The Desperate Hours,” which he later turned into a Tony Award-winning play and a movie.

This production occasions the welcome return to the New York stage of Anna Manahan, the Irish actress. A bit less welcome is Declan Hassett’s relentlessly downbeat play itself.

Chad Beckim’s well-acted but overheated drama provides evidence that it might not to be such a good idea to get to know your neighbors.

Words are no match for action, and neither are mere laws. Raphael Lemkin, a real-life lawyer who died in 1959, learns this in his imagined afterlife in this compelling, well-acted play.

The magic in Eric Walton's mostly one-man show is a lot of fun.