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Robert Earl Jones, a stage and screen actor and the father of the actor James Earl Jones, died on Sept. 7 at the age of 96.

Michael Cumpsty traces the gestation of Richard’s soul with affecting clarity in this uneven new production for the Classic Stage Company.

Scott C. Sickles shows a fair amount of potential with “Intellectuals,” his genial comedy about relationships gay and straight and, well, both.

This intense, full-blooded staging by the National Theater of Greece relies on the simple force of Aeschylus’s strange tragedy to compel our attention.

The Nederlander Organization has announced the creation of Audience Rewards, an awards program that will be similar to frequent flier miles and credit card points.

A 57-year-old man and a glorified log are in town to star in, of all things, their own Broadway show.

He has been a master of the tried and true, but this month Kevin F. Harrington is turning in a new direction, producing his first world premiere.

Elaine Stritch loves “The Sopranos” so much that she’s made the show’s theme song the uproarious novelty centerpiece of her new cabaret show.

"Asylum: The Strange Case of Mary Lincoln," being given its world premiere by the York Theater Company, is a respectable pocket musical.

The four stories in the Keen Company's production of "Theophilus North" have their old-fashioned charms.

It is still possible to attend even the most in-demand Broadway shows at remarkably good prices, but it is not easy.

The National Theater of Greece is bringing its new version of "The Persians," starring and directed by Lydia Koniordou, to City Center.

The character of Alma Winemiller has resurfaced with a new authoritative calm in the Hartford Stage’s gentle, insightful revival of Tennessee Williams’s “Summer and Smoke.”

Eve Ensler's new play is a dismaying muddle that fails to illuminate any of the troubling ideas at its core.

“How Do You Solve a Problem Like Maria?” is a live talent competition in which British television viewers will pick the lead for a new production of "The Sound of Music."

Ralph Lee's newest production affords many moments of paradoxical pleasure, revealing the garage-sale stuff of which compelling illusions can be made.

This is a nimble, knowing one-act with an admirable script carefully structured to appear free-flowing.

Much of the time James Armstrong's play is fairly entertaining. But at other times the action is unbelievable, even by the standards of farce.

A quarter-century after being dazzled by "Dreamgirls" on Broadway, Bill Condon is bringing the musical to the screen.

Alan Bennett’s hit play "The History Boys" has been a magnet for theater prizes. That may or may not matter to moviegoers.