87 stories by "Rachel Saltz"
A quest for men who cry easily in "We Play for the Gods," from the Women's Theater Project, at the Cherry Lane Theater.
The National Theater of the United States of America brings "The Golden Veil," a celebration of ideas about stories, to the stage at the Kitchen.
Mayank Keshaviah's new play, "Rangoon," looks at an Indian immigrant father and his American-born children in the modern-day South.
The Epic Theater Ensemble's "Macbeth" has energy and the occasional lovely moment, even as it remains interpretively ragged.
"The Book of Everything," which stars an adult as a 9-year-old, pits imagination and art against repression and joylessness.
"Pinocchio's Ashes," the Danish playwright Jokum Rohde's dark satire, is receiving its American premiere at Theater for the New City.
"Deep Are the Roots," a 1945 play about the return of a decorated black soldier from World War II to his hometown in the South, is being revived at the Metropolitan Playhouse.
"The Adventures of Tom Sawyer" at the New Victory Theater, adapted by Laura Eason, is a decent account of Mark Twain's novel.
In its revival of the 1912 "Rutherford & Son," the Mint Theater charts the difficult family dynamics in the household of an industrial mogul.
"Samuel & Alasdair" is the story of a robot holocaust in 1959 and four intrepid Russians in the 21st century who broadcast bits of American culture to keep it alive.
An elemental wildness runs through "Wuthering Heights, Restless Souls," Theater Artemis's spare but impressively theatrical adaptation of Emily Brontë's novel.
"El Pasado Es un Animal Grotesco" ("The Past Is a Grotesque Animal") by the Argentine writer Mariano Pensotti delves into the fictions of our pasts.
"How Much Is Enough? Our Values in Question," at St. Ann's Warehouse, is fueled by audience participation.
In "Dreamless Land," written and directed by Julia Jarcho, comedy and menace compete.
"IntrÃngulis," Carlo Albán's one-man show at Intar Theater, is a modern immigration story told by someone who was in the country illegally and a cast member of "Sesame Street."
In "Lucia's Chapters of Coming Forth by Day" at Mabou Mines as part of the 1st Irish Theater Festival, Joyce's daughter sends herself off to the next world with a steady stream of talk.
In Deirdre Kinahan's "BogBoy," a wry recovering addict makes even failure sound sadly funny.
The Korean musical "Hero" tells the story of An Chung-gun, a Korean patriot, in broad song-and-dance strokes.
The reorganized Classical Theater of Harlem is back onstage with a "Henry V," in a production of limited means.
The musical revue "It Ain't Nothin' but the Blues," a New Haarlem Arts Theater production at City College's Aaron Davis Hall, makes the music " more than 30 songs " its top priority.
"The Devil's Music" is a biographical musical about the life, loves and career of the blues singer Bessie Smith.
In Jason Grote's "Civilization (All You Can Eat)" at Here, a group of interconnected characters tackle some big questions of modern culture.
I. D. Berkovitch's "Under the Cross" tells the story of a man who regrets his conversion to Christianity from Judaism.
The would-be terrorists in Zack Russell's satiric comedy "Just Cause" are actually middle-class Brooklynites in their 20s, with no cause, no ideology and no jobs.
"The Shaughraun," Dion Boucicault's 19th-century mix of comedy and melodrama, is being given a lively, loving production at the Irish Repertory Theater.
