Rabbit Hole would have made a fine screenplay—so why bother putting it on Broadway?

In Bridge & Tunnel, Sarah Jones avoids the solo-show death trap by brilliantly conveying more than multitudes.

Mrs. Warren’s Profession makes one wonder: Why aren’t New Yorkers crazy for George Bernard Shaw?

The Dancer's Life turns the story of Chita Rivera's life and career into a kind of meta-musical, with biography giving way to a mix of new and revived songs.

O’Neill’s 'A Touch of the Poet' examines our ability to delude ourselves— and what we do when we can’t.

Sondheim killed as Broadway showed a taste for butchery—not to mention molestation. Cherry Jones flew high as a nun, while Ethan Hawke wallowed in self-destruction. Amid revivals and nostalgic musicals, some playwrights proved they could smartly tackle current events. And Doug Hughes directed everything.

The Color Purple, polished too smooth, has nothing left but heartfelt uplift.

The couples' relationships generate no emotional appeal, and the weighty subjects they throw around tell us little we don't know.

The Woman in White proves that minimalist Lloyd Webber is as problematic as overblown Lloyd Webber.

The Ruby Sunrise and RFK prove that politics doesn’t have to mean lousy theater.