Numbers quickly became a PR tool in the stagehands’ strike. Some key figures in the battle for your sympathy.

Tumbleweeds may be blowing through Shubert Alley, but for those intent on catching a show, all is not lost.

When did striking writers become more sympathetic than stagehands?

After a slew of films, this year, Brian Cox returned to the theater as Max in Tom Stoppard’s Rock ’n’ Roll, in a part written for him. He spoke with Boris Kachka.

Why Jennifer Garner had to take her chances on Broadway.

Ah, the joys of starring alongside Claire Danes in her Broadway debut. It certainly helps with ticket sales. But then there is the issue of being semi-eclipsed, even when you’re Jefferson Mays and Boyd Gaines.

De Niro, DeVito, and Chazz: How A Bronx Tale got told.

No art form lives and dies by word of mouth quite like the Broadway show. And this fall, you’ve likely heard that quite a few shows are supposed to be good.

Deconstruction is too gentle a word for what the 32-year-old Wooster Group does to classic plays. Its Hamlet, which transfers to the Public Theater next week, features reenactments of a taped 1964 Richard Burton performance, which is also broadcast on monitors. But the result is relatively coherent—if not exactly faithful. Where does it rank among other Wooster-exploded old chestnuts?

Jesse Eisenberg (The Squid and the Whale) is everywhere. He talked with Boris Kachka about typecasting, politics, and getting mugged.