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Sophie Treadwell is best known for her experimental 1928 drama Machinal, about female entrapment. Garry, dating from 1954 and one of more than 30 other plays she wrote, is getting what is billed as its
Gasps that emerge from audiences at plays usually belong to one of two categories. There’s the authentic, uncontainable gasp of genuine astonishment or dismay, as involuntary as a yelp of pain. Then there’s
Mary-Louise Parker will return to Broadway this fall to star in “The Sound Inside,” a two-character play about a professor with a difficult diagnosis and a creative writing student with a lot to say. play,
PARIS — Long-separated siblings looking to avenge their father, an ancient dynasty under threat, savage murders and even a penis chopped off. No, this isn’t the final season of “Game of Thrones” but two
CHICAGO — When “The Adventures of Augie March,” Saul Bellow’s groundbreaking 500-plus-page Chicago epic, was published in 1953, it shook up literature. For the first time, an American writer told a Jewish-American
Thomas Russo, the chief legal officer at Lehman Brothers when the Wall Street colossus filed for bankruptcy and threatened to melt down the global financial system, was recalling that frenzied final weekend
They seem like nice people, Victor the doctor and Martha the maid, chatting away companionably in his comfortable office at the clinic. It’s bitter winter in Winkelheim, Germany, and wartime has made a
Jake Gyllenhaal and Tom Sturridge are bringing to Broadway a pair of moving monologues about fatherhood, loss and resilience. Fresh off a sold-out run Off Broadway at the Public Theater, the actors announced
A mighty sigh — equal parts frustration and resignation — seems to animate “Hillary and Clinton,” Lucas Hnath’s piquant, slender new play about … well, it’s about exactly what, and whom, its title suggests.
Edgy only in the sense that it is very, very square, Matt Williams’s “Actually, We’re ______” at the Cherry Lane Theater stakes out a quartet of millennials as they navigate fertility, fidelity and a smoothie:
“Please join me in taking a collective breath to acknowledge that we’re all in this together.” That solicitous invitation, issued by a cast member from the stage, is part of the preperformance ritual “Good
Lesson 1: Adults wearing school uniforms will make almost anything look creepy. All the more so if said adults, all in blond wigs, have the fixed stare of cult members and often speak in unison. In “Skinnamarink,”