179 stories by "Helen Shaw"
On Broadway and off, a return to deep introspection"and Stephen Sondheim.
Starring a Peak TV supercast, the playwright's "Appropriate" investigates a dysfunctional Southern family's buried secrets.
Property and its discontents vex "Manahatta" and "Life & Times of Michael K."
The R. & B. titan shares a fictionalized version of her coming of age.
"FOOD," "Redwood," and "Faust (The Broken Show)" mask serious intent behind laughter.
Becca Blackwell and Amanda Duarte play exuberant, boundary-pushing alter egos, and the Irish Rep revives Brian Friel's stately "Translations."
The critic, professor, producer, and author was a pugilistic champion of the stage.
The writer David Ives and the director Joe Mantello continued without the late composer on an adaptation of two lacerating Luis Buñuel films.
Two new intergenerational sagas, by Nathan Alan Davis and Javier Antonio González, explore the American legacy.
Dmitry Krymov starts from scratch in New York.
Rebecca Gilman and Theresa Rebeck use plants as metaphors for human flourishing in their latest works.
The playwright's exquisite new comic drama, "Infinite Life," nails the absurdity of having a body.
The new Broadway play, by Ian Shaw and Joseph Nixon, imagines frequently irritable chats among the movie's three main actors, including Shaw's father, Robert Shaw.
David Byrne's electro-pop Imelda Marcos is a series of hard, mirrored surfaces.
Helen Shaw reviews Robert Icke's adaptation of an Arthur Schnitzler play, starring Juliet Stevenson as a doctor who is a target of anti-Semitism and language policing.
"Operation Mincemeat," "Guys and Dolls," and "The Motive and the Cue" gallop into the past.
James Grissom says that he met the playwright and his famous muses, and quoted them extensively in his work. Not everyone believes him.
David Byrne and Fatboy Slim's "Here Lies Love" on Broadway, Ato Blankson-Wood's "Hamlet" in the Park, Robert Icke's "The Doctor," and more.
Vinson Cunningham, Helen Shaw, and Michael Schulman revisit Andrew Lloyd Webber's mega-musical.
In a new production of "Camelot," reimagined by Aaron Sorkin and directed by Bartlett Sher, Arthur is more perfect than ever. But this iteration of the hero's kingdom isn't worthy of him.
Experimental theatre and soap tropes commune in Julia Izumi's "Regretfully, So the Birds Are" and Michael R. Jackson's "White Girl in Danger."
Sondheim's music and lyrics gleam as bright as ever, even when the production loses its edge.
Ben Platt stars as the doomed Leo Frank in Alfred Uhry and Jason Robert Brown's all too relevant musical tragedy.
Jamie Lloyd's ascetic production of Ibsen's 1879 drama eliminates nearly every conventional marker of character, location, or gesture.
Nathan Lane and Danny Burstein rely on shtick in Sharr White's adaptation of Larry Sultan's book, while Norbert Leo Butz can't save the musical "Cornelia Street."
