Eric Overmyer, Who Wrote for Modern Television Classics, Dies at 74
Trained as a playwright, he got his first TV writing job on “St. Elsewhere,” then worked on “Homicide: Life on the Street,” “The Wire,” “Treme” and “Bosch.”
Trained as a playwright, he got his first TV writing job on “St. Elsewhere,” then worked on “Homicide: Life on the Street,” “The Wire,” “Treme” and “Bosch.”
One hundred years after it was banned for its depiction of hedonism, the rhythmic, jazz-soaked poetry of Joseph Moncure March continues to find new life.
Jon Bernthal and Ebon Moss-Bachrach are both making their Broadway debut in a high-stakes adaptation of the beloved 1975 film “Dog Day Afternoon.”
They can shake off those winter doldrums by hunting for Easter eggs, running the bases at Brooklyn Cyclones’ ballpark or gliding down Slide Hill on Governors Island.
Michael Paulson reports from New York, and Alex Marshall reports from London, to compare theater prices for the same shows on both sides of the Atlantic.
For half the price of a great seat at a Broadway show, you can see “Paddington” in the West End (if you can find a ticket) and snack on a marmalade sandwich.
The longtime owner of the restaurant, a Theater District mainstay, is bowing out, and the Shubert Organization plans to reopen after a renovation, with the celebrity caricatures intact.
A favorite of actors like Maggie Smith, he produced dozens of plays, including “The Audience,” about Queen Elizabeth II, which was made into the Netflix show “The Crown.”
With a musical language they can appreciate, Americans could more easily find opera’s appeal.
A new play at the Public Theater written by Michael J. Chepiga and the former ambassador Julissa Reynoso is a diplomatic memoir of sorts, and a meditation on loving one’s country.
The singer Self Esteem, aka Rebecca Lucy Taylor, is an incarnation of late 1960s counterculture in a new London production of David Hare’s “Teeth ‘n’ Smiles.”
A week before opening night, tensions spilled over offstage, with the show’s producing team temporarily prohibiting Stephen Adly Guirgis from entering the theater.
Entranced by traditional Balinese puppet theater, he developed a modern, multicultural version that he performed around the world.
Audience reactions are a staple of standup specials. But they’re a strange device when you take a closer look.
In Mark Rosenblatt’s play, a powerful portrayal of the beloved children’s book author who almost gleefully exposes his bigotry.
“Antigone” gave us the original “bad girl,” but its themes go beyond that. How do adaptations keep making Sophocles’ ideas about democracy and theater new?
Antigone, an ancient Greek play, is being adapted in several theaters across New York City. Our critic Helen Shaw explains why Sophocles’s anti-heroine is such a relevant figure today.
An adaptation has a twist that doesn’t track, and songs that benefit from an excellent cast, including Norm Lewis, Sierra Boggess and Adam Jacobs.
Daniel Radcliffe in “Every Brilliant Thing,” “The Wild Party” and two Cold War-era comedy-thrillers: These are productions worth knowing about.
Two monologue revivals — Jesse Tyler Ferguson as Truman Capote and Wallace Shawn’s solo — reveal how wealth warps our perceptions. Only one pays dividends.
Encores! revisits a Jazz Age tale of debauchery, with showstoppers from Jasmine Amy Rogers, Adrienne Warren, Jordan Donica, Tonya Pinkins and others.
In a distinguished career in classical and contemporary plays, she drew acclaim on both sides of the Atlantic for her dramatic portrayal of the French singer Édith Piaf.
Tamara McCaw, a longtime arts leader with experience at the Brooklyn Academy of Music, will lead it with a focus on stability.
A full-scale production of the Bengsons’ deeply personal memoir musical is delivered via anthemic songs and remnants of home.
David Ireland’s satire follows a Hollywood actor whose cluelessness leads to a combustible confrontation.
The lawsuit objected to a “BIPOC night” program at Playwrights Horizons, an Off Broadway nonprofit.
Joined by Daniel Radcliffe, Groff stars in the hit Broadway production of the Sondheim musical. And there are (count ’em) three productions of “The Importance of Being Earnest” this month.
“School Girls; or, The African Mean Girls Play,” written by Jocelyn Bioh and directed by Whitney White, will start performances in September.
Is there anyone John Lithgow can’t — or won’t — play?
Ahead of a vote on whether to close the center for two years of construction, the president criticized its previous financial management and physical condition.
James Caverly and Andrew Morrill star as Deaf roommates in their new comedy at the Perelman Performing Arts Center.
The actor’s fondness for the audience radiates outward in this delightful interactive play about naming and noticing the good in the world.
Anna Ziegler’s feminist take on Sophocles tries to tie in reproductive politics, but the play keeps trampling over its own ideas.
Henry Darger, a recluse who left behind thousands of wild illustrations upon his death, is the subject of fascination in this one-man show.
The actress will make her Broadway debut in a role that, she said, “feels like a badge of honor.”
An enthusiast went on a madcap adventure to find some fun events for all types across the city, from bingo fans to “Star Trek” aficionados.
“The Popinjay Cavalier,” written and directed by Tarantino, will open next year. It is described as a “rambunctious comedy of deception” set in 1830s Europe.
The designer of Ms. Allen’s “West End Girl” tour talks about the scene with the artist pulling cloth printed with receipts that has become the subject of online speculation.
In the Hudson Valley town of Chatham, N.Y., a weeklong event called “The Dark” took over theaters, bars, a church, a bookshop, a library and even a sauna.
“Kids, Wait Till You Hear This!” is a familiar reminder that growing up in showbiz can lead to awards and adulation, but also to heartache.
Skyrocketing budgets and falling profitability have driven a new form of offshoring, with U.S. producers staging shows across the Atlantic.
As President Trump prepares to close Washington’s premier performing arts venue for two years, loyal patrons wonder where they’ll get their cultural fix.
The Times’s new chief theater critic is taking up the mantle as the industry moves over rocky ground.
Considered the most exciting opera singer of her time, she thrilled audiences with her penchant for spectacle onstage and in her personal life.
She performed with a string of bananas tied around her waist, an electrifying act that led her to become first a local sensation in Paris, and then an international star.
After a prizewinning “Fiddler on the Roof” and a lauded take on Sondheim, Jordan Fein is tackling Arthur Miller’s enigmatic “Broken Glass.”
The playwright and his collaborator André Gregory are together again, delivering a sumptuous set of interlinked monologues about life, death and betrayal.
The two musicals secured 11 nominations each for Britain’s equivalent of the Tony Awards. Cate Blanchett, Bryan Cranston and Rachel Zegler are also among the nominees.
The actor Chadwick Boseman was a playwright, too. At Shakespeare’s Globe in London, his “Deep Azure” is drawing attention to a lost talent inspired by the Bard.
By transmitting his love of live performance, the “Just in Time” actor has completed his ascendance to full musical stardom.
Hugh Jackman returns in “Sexual Misconduct of the Middle Classes,” Jesse Tyler Ferguson plays Truman Capote, and Celia Keenan-Bolger and Tony Shalhoub star in an “Antigone” riff.
The Lazours’ intimate new musical about illness and mortality is also about finding solace in other people, and in art.
In the stage versions of two beloved books, the most impressive moments emerge when the productions stray from the source material.
The new musical from the comedian Amber Ruffin has a wholesome moral and silliness in spades.
Opening a decade after “Fun Home” debuted on Broadway, the new musical “Starstruck” has a lesbian protagonist and a female creative team. That still seems radical.
This month offers St. Patrick’s Day and the Oscars, vampires and Mapplethorpe, as well as free ice skating and a final bow from Jonathan Groff.
Naples, Fla., and Milwaukee are quite different, but have one thing in common: They are home to regional theaters that are thriving.
Broadway is almost back, and pop music tours and sports events are booming. But Hollywood, museums and other cultural sectors have yet to bounce back.
Stagehands and other backstage workers have gone on strike against a prominent theater, and two productions have been canceled.
With less touring, it’s been a while since all the world has been its stage, but the troupe is working with the Chicago Shakespeare Theater — where it has family ties.
Mason, an associate director of “The Roommate,” which opened on Broadway last week, stepped in as Patti LuPone’s counterpart.
Broadway is still recovering from the pandemic. A state tax-credit program has helped, but watchdogs say it aids some shows that don’t need a boost.
Covid brought live performance to a halt. Now the audience for pop concerts and sporting events has roared back, while attendance on Broadway and at some major museums is still down.
In an effort to entice audiences back after the pandemic, Britain’s National Theater is testing a 6:30 p.m. curtain.
The small theaters that help make the city a theater capital are cutting back as they struggle to recover from the pandemic.
Readers discuss the decline in theater subscribers after the pandemic. Also: Northern Ireland; food allergies; a Covid playmate; anti-China bias.
Michael Paulson spoke with producers and artistic directors at nonprofit theaters across the country about the crisis their industry is facing.
As they struggle to recover after the pandemic, regional theaters are staging fewer shows, giving fewer performances, laying off staff and, in some cases, closing.
Suzan-Lori Parks wrote one play a day for 13 months during the pandemic. Those stories come to life onstage in the form of monologues, dialogues and songs at Joe’s Pub.
When shuttered venues embraced streaming during the pandemic, the arts became more accessible. With live performance back, and streams dwindling, many feel forgotten.
The veteran performance artist Karen Finley leads the audience through the troubles that plagued New York City at the peak of the pandemic.
A ceremony for the awards, celebrating work Off and Off Off Broadway, will be held Monday, but organizers decided to announce the winners in advance.
Broadway shows grossed $51.9 million during the holiday week, the most since 2019, and “The Lion King” set a record for the most earned by any show in a single week.
Stakeholders including Patti LuPone and Lynn Nottage share their real-time reactions to New York theater’s shutdown and reopening in Amy Rice’s documentary.
After one holiday season lost to the pandemic and another curtailed by Omicron, seasonal staples including “The Nutcracker,” “A Christmas Carol” and “Messiah” are back in force.
An annual survey, suspended during the pandemic, resumes and finds theaters nationally doing fewer shows and torn between escapism and ambition.
Responses to an essay that criticized Anthony Fauci’s handling of the pandemic. Also: Migrants as props; abortion rights; David Milch; theater’s lessons.
Some audience members are turned off by mask mandates. Others won’t attend indoor performances without them. Arts presenters are taking different approaches this season.
After a two-year pandemic delay, villagers in the German town of Oberammergau are once again re-enacting the story of Jesus’s life and death, with some changes.
“American Buffalo,” at Circle in the Square, is sticking with masking till it closes, July 10, citing the “proximity of the audience to the actors” and “the staging in the round.”
Beginning in July, Broadway will no longer require audiences to mask up. Actors and theater workers aren’t loving the idea.
Beginning in July, Broadway will no longer require audiences to mask up. Actors and theater workers aren’t loving the idea.
Most theaters stopped requiring proof of vaccination this spring. Now they are going “mask optional.”
“The Lehman Trilogy” won best play, “Company” won best musical revival and “Take Me Out” won best revival of a play at the 75th Tony Awards.
The musical, which opened in 2017, is the third to announce a closing in two days, as many shows struggle in a pandemic-softened marketplace.
The decision comes at a time when New York City has declared a “high Covid alert.”
At times it felt like a game of survival. But during a Broadway season unlike any other, productions showed their resourcefulness while learning how to live with Covid.
The musical, which shuttered temporarily in January as the Omicron variant spread, has struggled with the slow return of tourists to the theater.
While for-profit theater owners and operators agreed to stop checking proof of vaccination this week, several nonprofit Broadway theaters continue to require it.
Broadway enthusiasts, art aficionados and food lovers will find new offerings in and around Times Square and in neighborhoods below 42nd Street, heralding the promise of a vibrant recovery.
The revival, directed by Camille A. Brown, received strong reviews but struggled to attract audiences and overcome challenges posed by Covid.