Broadway

In her musical opening on Broadway, Keys tells a story very much like her own life—but don’t call it autobiographical. Plus, Rhiannon Giddens on the Black roots of country music.

The “White Lotus” and “Sopranos” star discusses his formative first encounter with Martin Scorsese, his philosophy of acting, and the climate protest that just disrupted his Broadway début.

The actor, author, cabaret performer, and host of the hit reality series “The Traitors” says, “I think American people, especially, are slightly ashamed of abandon.”

It was a big night for the off-kilter appeal of “Kimberly Akimbo,” the nonbinary winners Alex Newell and J. Harrison Ghee, and try-hard musical-theatre-kid energy.

The playwright behind “The Thanksgiving Play” discusses her satire of theatre and U.S. history, the enduring prevalence of “redface” in casting, and how a background in ballet made her a better writer.

A hundred and fifty million Americans are on TikTok. Evan Osnos and Chris Stokel-Walker discuss why politicians are so keen to ban the app. Plus, Broadway’s new comedy of white wokeness.

The actress often plays women defined by their mastery. In “Prima Facie,” she takes on her toughest role yet: a lawyer who defends men accused of sexual assault.

Despite its lack of unitary purpose, this new musical comedy, with songs by Brandy Clark and Shane McAnally, is idiotic in the best possible way.

Sondheim’s music and lyrics gleam as bright as ever, even when the production loses its edge.

The cast and the writer of the Pulitzer Prize-winning play, which riffs on “Hamlet,” enjoy a pre-Broadway-opening feast at Melba’s in Harlem.

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.

Oscar Isaac and Rachel Brosnahan star in “The Sign in Sidney Brustein’s Window.”

In a stage adaptation of Yann Martel’s novel, a Bengal tiger called Richard Parker—operated by puppeteers—joins a boy named Pi, who is lost at sea, in a lifeboat.

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.”

Last year’s Best Actress Oscar winner steps into the role of Nora in a Broadway production of “A Doll’s House,” also starring Arian Moayed and Okieriete Onaodowan.

Annaleigh Ashford (Mrs. Lovett) and Josh Groban (the demon barber of Fleet Street) compare notes on their early Sondheimian setbacks.

In local political circles, he was known as George “Scamtos.” When a Long Island newspaper published the facts, why did no one listen? Plus, Michael Schulman on “Oscar Wars.”

After George Floyd’s murder, Black artists like Britton Smith forced Broadway to acknowledge structural racism in the industry. Now Smith looks at what has changed—and what hasn’t.

What should we do with the traditions—in culture, religion, or the workplace—that no longer reflect our values? Three stories of change from the producer Ngofeen Mputubwele.