critic’s notebook
At the Stratford Festival, Sexual Power and Paranoia
This season’s wide-ranging offerings, including Shakespeare and “Little Shop of Horrors,” reveal the surprising root of our longest-lasting stories.
By
Advertisement
Supported by
Theater
Highlights
Photo CreditEmily Cooper Photo 
CreditSara Krulwich/The New York Times Review: She Belts. She Brawls. She’s a ‘Broadway Bounty Hunter.’
Annie Golden stars in a musical B-movie pastiche that lands in the gap between tribute and spoof.
By
Photo 
CreditNile Scott Studios Faye Dunaway Is Dropped From Broadway-Bound Play About Katharine Hepburn
The producers of “Tea at Five,” a one-woman show, say the play will debut on the West End instead, with a new actress.
By
Photo 
CreditMonique Carboni Critic’s Pick
Review: In ‘Get on Your Knees,’ a Comedian Goes There
Jacqueline Novak’s show, a stand-up comedy set that inclines toward theater, offers a personal and intellectual history of oral sex.
By
Photo 
CreditIke Edeani for The New York Times Jonathan Groff to Lead Off Broadway ‘Little Shop of Horrors’
The two-time Tony nominee is teaming up with the director Michael Mayer for a Westside Theater production in September.
By
Photo 
CreditEddie Hausner/The New York Times Hugh Southern, a Creator of the TKTS Booth, Dies at 87
He held high-profile positions at the Metropolitan Opera and the National Endowment for the Arts, battling critics who wanted to abolish the agency.
By
Photo 
CreditWalter Wlodarczyk Still Aiming to Confound, a Scrappy Venue Turns a Page
A new leader is about to take over the Brick in Williamsburg. A festival there now offers a sense of her transgressive vision (sour cream included).
By
Photo 
CreditSara Krulwich/The New York Times Review: Chekhov’s ‘Three Sisters,’ Now with Upspeak and Emojis
Halley Feiffer’s “Moscow Moscow Moscow Moscow Moscow Moscow” turns the master’s refined Russians into “Mean Girls.”
By
Photo 
CreditSara Krulwich/The New York Times Review: Black Lives Trapped in a Reimagined ‘Penal Colony’
Miranda Haymon’s play relocates Kafka’s horrific tale of punishment to a contemporary world where African-American men are expendable entertainment.
By
Advertisement
Tony Awards
More in Tony Awards »Photo 
CreditSara Krulwich/The New York Times ‘Waitress’ to Close in January 2020
The crowd-pleasing musical, with its popular score by Sara Bareilles, will wrap up after four years on Broadway.
By
Photo 
CreditSara Krulwich/The New York Times A Broadway Star Indeed
A reader says the Tony winner Ali Stroker is a role model for children with disabilities.
Photo 
CreditErik Tanner for The New York Times Ali Stroker on Winning the Tony: ‘I Was Meant to Be in This Seat’
The flirtatious Ado Annie of Broadway’s “Oklahoma!” says she is proud to be a symbol.
By
Photo 
CreditSara Krulwich/The New York Times The Best and Worst of the 2019 Tony Awards
Swinging lights. Broadway beefs. Words of wisdom. And a restroom serenade. If only some of the highlights were on TV.
By Ben Brantley, Jesse Green, Scott Heller and
Photo 
CreditSara Krulwich/The New York Times ‘Hadestown’ Wins Eight Awards at the Tonys
“Hadestown” won the Tony Award for best new musical, beating out the original musical comedy, “The Prom,” “Tootsie,” “Beetlejuice” and “Ain’t Too Proud: The Life and Times of the Temptations.”
By
Advertisement
Advertisement
