Two new Netflix films, Ma Rainey’s Black Bottom and Giving Voice, honor the late playwright’s rejection of white commercial restrictions.
Disney+’s filmed version of Lin-Manuel Miranda’s hit musical feels dated, timeless, and vital all at once.
The intimate camerawork of its web broadcasts gives everyone the best seat in the house.
The qualities for which live theater is celebrated—audiences responding with laughter, tears, gasps, and coughs—accelerate its danger. But the Broadway shutdown could be good for plays.
A new revival shows that the musical is still bound by ethnic stereotypes, and that it would work best by returning to its origins.
The 27 works, moments, and objects that define the best—and worst—of the past decade
The Broadway adaptation’s writer and star—Aaron Sorkin and Ed Harris, respectively—talk about updating and paying homage to Harper Lee’s American classic today.
As the groundbreaking show concludes with a final theater run in London, audiences are left to grapple with its meaning.
The legendary producer Hal Prince prevailed through changing tastes and times, and helped pioneer the creation of the “concept musical.”
Heidi Schreck’s What the Constitution Means to Me appears to tout radical change, but it stops just short of being revolutionary.
Heidi Schreck’s Tony-nominated Broadway show is as “messy” and full of contradictions as the founding document itself.
More than 75 years after the classic Rodgers and Hammerstein musical debuted, a daring new production seeks to re-create the frisson of the original—with some changes.
Bruce Norris’s Downstate, at London’s National Theatre, makes a provocative case for the redemption of child abusers.
Political discord coupled with the lingering effects of 2017’s Hurricane Maria challenged the arrival of the famed musical.
In a new HBO film starring Benedict Cumberbatch, James Graham turns a polarizing national moment into a surprisingly cohesive and engaging story.
Inspired by his one-man show, Latin History for Morons, the comedian recommends three books that challenge one-sided narratives of the past.
Marianne Elliott’s gender-flipped Company mines modern ambivalence about marriage.
The comic has stormed though 75 years of show business; he remains prodigal in expression, memory, and imagination.
With their themes of female subjugation, the plays have always had unsatisfactory endings. Two musical revivals attempt to complicate the equation.
A new, two-part play in London affirms the importance of connecting with the cultural past.