Thornton Wilder’s Unfinished Play About Choosing a Life in the Arts
Playwright Kirk Lynn spent years inside Wilder’s journals, drafts, and notes to bring The Emporium to the stage. But he left one crucial decision up to the audience.
Why Is Everyone Coughing at “What We Did Before Our Moth Days”?
At Wallace Shawn’s new play, audiences seem seized by an uncanny urge to make themselves heard. What would Freud say?
“Canciones” and the Songs We Take with Us
In an immersive mariachi performance in a Flatbush apartment, a Mexican family wrestles with a fear shared by immigrants everywhere: that leaving home may mean leaving yourself behind.
“Beauty Freak” Gets Political in a Time of Numbness
In its unsparing portrayal of director and Nazi propagandist Leni Riefenstahl, the new production by What Will the Neighbors Say? shines a spotlight on our own growing dissociation from everyday horrors, and asks: What is the role of the artist in politics today?
What Bedlam Sees in “Othello” Right Now
A four-actor production led by Eric Tucker and Ryan Quinn leans into race, love — and reconsiders what Shakespeare’s tragedy asks of an audience in 2026.
John Early Lets the Mystery In
The comedian and actor enters Wallace Shawn’s unconscious mind in What We Did Before Our Moth Days, directed by André Gregory.
Anne Kauffman Meets Her Past Self in “You Got Older”
The director has made a habit of restaging her Off-Broadway work (see: Mary Jane, Marjorie Prime). Now, with Clare Barron’s play at Cherry Lane Theatre, she’s revisiting past choices on a very different stage.
Moooving with “Athleticism, Brutality, Sweetness” in “Calf Scramble”
Playwright Libby Carr and director Caitlin Sullivan on turning a Texas tradition into a dark comedy about animals, power, and what young women inherit.
In “Bughouse,” John Kelly Sketches a Portrait of the Artist
In Martha Clarke’s surreal new production at Vineyard Theatre, the avant-garde performer takes on reclusive outsider artist Henry Darger.
What Do Indie Bookstores and Off-Broadway Theater Have in Common?
As cozy bookstore narratives gain popularity, new plays explore the romantic allure and cultural fascination with life among the stacks, including the site-specific production Edward, set in shops around New York City.
Aigner Mizzelle Steps into the Ring
For The Monsters, the actor trained in MMA, built a new physical vocabulary, and found the tenderness inside a story about siblings, addiction, and survival.
Marshall Pailet Is Just Trying to Create Delight in the Darkness
The writer-director reunites with Ethan Slater for Marcel on the Train, their new play about Marcel Marceau, the famous mime who transported Jewish children to safety during the Holocaust.
The Theatrical Audacity of Anne Gridley
The longtime performance artist discusses turning disability, spectacle, and “dumb theater magic” into Watch Me Walk, her fearless solo show.
Pete Simpson Is Everyone Everywhere All at Once
At the Exponential Festival, the ubiquitous actor is doing more of what he loves: experimental theater, back-to-back plays, and throwing himself “over the cliff.”
Inside a Role: Initiative’s Greg Cuellar on Seven Years, 9,000 Words, and That Five-Hour Play
The actor reflects on endurance, boundaries, and the creative process—plus backstage snacks—required to take on a millennial epic.
Turning “Picnic at Hanging Rock” into a Musical
The playwright Hilary Bell discusses collaborating with composer Greta Gertler Gold, developing new work in New York, and honoring the classic Australian story rooted in female struggle and First Nations history.
Meghan Finn on Taking the Tank to New Heights
Eight years into her tenure as artistic director of the Tank, Finn reflects on the nonprofit’s revolutionary production model, sharing the reins with Johnny G. Lloyd, and mounting “Everything Is Here.”
Fiasco and the Saunders Collective Shake Up “The Comedy of Errors”
Through the Without a Net initiative, the theater company and the real-life siblings invite audiences into their workshop of Shakespeare’s fastest farce.
The Stage Manager Takes the Stage
Ruth Sternberg spent 18 years as the backbone of the Public Theater. Now she's making her acting debut in the same building she helped run, in Ethan Lipton’s The Seat of Our Pants.
In “Jewish Plot,” Torrey Townsend Resists a Tidy Narrative
The playwright’s shape-shifting new work uses an invented Victorian melodrama to excavate his grandfather's anti-fascist legacy—and confront his own identity.