A reinterpretation of a Euripides play tells a seldom staged and lesser-known side of the famous hero.
Performed by British and Argentinian veterans, Minefield excavates the unsettling violence and futility of the 1982 war.
The playwright’s protagonist rises to the pinnacle of society only to fall back down to the housing project where she grew up.
Anthony Roth Costanzo has made it his mission to make classical music appealing to broader and younger audiences. It worked.
The Prisoner conjures a timelessness that recalls Waiting for Godot.
Until Harvey Fierstein changed the tenor of queer theatre in 1982 with the Broadway debut of his Torch Song Trilogy, gay figures in media typically came in three flavors: depressed, bitter, and suicidal.
The 18th Street Art Center celebrated its 30th anniversary with We the Artists, a multimedia festival in which residents expressed rage and frustration toward the political climate.
Tashi Norbu, who draws on Buddhist thangka painting, recited mantras between bursts of activity at a crowded gallery.
At first, the opera seemed relevant to today’s re-evaluation of gender norms. But the narrative does not bear out this interpretation.
Heidi Schreck’s new play at the New York Theatre Workshop raises some difficult questions about how strong the foundations of American democracy are when Trump sits in the White House.
The directed actions in Ivo Dimchev’s P Project progressed from audience members dancing alone in front strangers to nude performers simulating sex.
In his recent performance at Participant Inc, Rafa Esparza takes the audience through land and memory with the help of Google Maps.