A Big Table: What the New Irish Arts Center Means for New York
The company’s glittering new $60 million building, long in the works, puts the emphasis on multidisciplinary programming and Irish hospitality.
The company’s glittering new $60 million building, long in the works, puts the emphasis on multidisciplinary programming and Irish hospitality.
Already in his short time so far at D.C.’s Shakespeare Theatre Company, Simon Godwin has striven to redefine the stage canon.
Jenny Koons and Sam Pinkleton’s immersive new staging returns the fanciful show to its original conception.
Dana Schwartz’s new play about online gamers, originally conceived pre-pandemic, has fresh resonance after a year of isolation and virtual connection.
As Anna Deavere Smith’s theatrical document of the 1992 L.A. uprising returns in a new form, it may feel so in touch with our moment because it helped to define it.
Staged within a D.C. neighborhood block party, Pan Underground’s production of Caridad Svich’s play is designed connect local community members.
Phantoms playing hide-and-seek, lighting with a mind of its own, floating shadows, and more fill our annual assortment of tales about haunted theatres.
A co-production among Woolly Mammoth, the Huntington, and Pasadena Playhouse gives new life to Mike Lew’s disability-themed spin on ‘Richard III.’
When the L.A. theatre announced a season light on women playwrights, a protest led to change and greater transparency.
Pandemic delays allowed the Chicago theatre to rethink their both production process and the meaning of the play, with strong input from their lead actor.