193 stories by "Maya Phillips"
Shaina Taub's new musical at the Public Theater tells the story of the women's suffrage movement in the years leading up to the passage of the 19th Amendment.
In Dominique Morisseau's promising new play, the action is in the ideas and the setting bounces between the Civil War era and the present.
This experimental work, presented by La MaMa and the Indigenous theater ensemble Spiderwoman Theater, is full of enchanting stories but is missing a few threads.
Inspired by Sophocles' "Philoctetes," Aleshea Harris uses poetic language, songs and symbolism to explore the trauma of being alive, especially for Black people.
New productions of "The Merchant of Venice" and "Black No More" aim to reflect our current racial politics. The results are uneven.
Enda Walsh's play, which had its U.S. premiere at the Irish Arts Center, stars two sisters who play different versions of the same character.
Daniel Craig and Ruth Negga head to Broadway in "Macbeth," while "Fat Ham" and "Misdemeanor Dream" aim to lend contemporary context to classic plays.
Happenstance Theater traps five pretentious aristocrats in a comedy of bad manners that could use more luster and more bite.
In the film version of "Tick, Tick … Boom!," about a composer who dreams of Broadway, a "Rent" die-hard discovers more to love in musical theater.
… Some never to return. This new Cold War musical about the Soviet-American space race pays tribute to the pups who preceded the cosmonauts.
Dave Harris's hip-hop triptych exploring racism and capitalism is meant to be a biting satire, but it has little force behind it.
The playwright directs and stars in her new play for Atlantic Theater Company's Stage 2. It's less a traditional narrative and more of a series of flirtations with discomfort.
A classic text by the 10th-century Saxon nun Hrotsvitha of Gandersheim inspires two new plays being performed as a double bill at 59E59 Theaters.
The musical "Hadestown" and the opera "Eurydice" aim to offer new twists on a Greek myth. But when it comes to their heroine, they only go so far.
Two critics on the joys (and pains) of a tentatively hopeful fall season.
Two shows with Broadway aspirations, "Once Upon a One More Time" and "A Strange Loop," represent opposite extremes of what a big, mainstream production can be.
No apologies from our critic-at-large, who found plenty of movies, plays and TV series to nourish the culture nerd within.
The new family-friendly musical, adapted from the hit movie, ends up cowering in the original film's shadow.
Digital innovation continued this year, but experiencing plays in isolation grew tiring. Then came an in-person season as exciting as a child's first fireworks.
Domhnall Gleeson is surrounded by an eccentric cast of characters in Enda Walsh's surreal play at St. Ann's Warehouse.
Will Eno's inward-looking incarnation of "Peer Gynt" steps out of Ibsen's shadow just as Ibsen shrugged off elements of the original fairy tale.
The new musical, based on the 2008 film and delayed by the pandemic, debuts at the Public Theater. But its story of a white professor helping immigrants feels out of step with the moment.
Her prescient 1955 play about racism in the theater world is reaching the big stage. And it's anything but a period piece.
Livestreamed productions of "Hamlet" and "Macbeth" from London reflect the vital role directors have in redefining these classic characters.
Keenan Scott II's play, incorporating slam poetry, prose and songs, aspires to be a lyrical reckoning with Black life in America.
