Two 40-year-old playlets are linked by an overlapping character and a made-up lingo. 

A handful of mini-plays honors Vaclav Havel.

Rita Rudner's talents are done a disservice by the show’s ramshackle construction.

Chris Urch's gripping new drama is inspired by real events in Uganda in which gays were outed in a local newspaper.

You've seen this story before, but the new film version looks and sounds tremendous.

The show aims to conjure the joyous energy of rock 'n roll legends, but it falls short of the real thing.

David Cale’s autobiographical solo show recounts a boyhood marked by upheaval.

The Mint Theatre Company outdoes itself with this production of Micheál Mac Liammóir’s little-known 1948 Irish drama.

April Matthis is magic as Toni Stone, the first woman to play professional baseball.

Tennessee Williams’ last successful play was one of his most personal.

Ned Bennett’s gets back to the visceral impact this play was always meant to deliver.

Despite a cast giving its all, there are elements of Micheal Frayn's farce that are starting to show their age.

Andrew Scott's charisma burns bright in Noel Coward’s semi-farcical 1939 comedy.

David Mamet’s latest play attempts to satirise Harvey Weinstein, but comes off flat.

Jack Thorne's play spans two decades in the life of a family, but makes little impression along the way.

With this revival, Michael Longhurst is off to an explosive start as the Donmar's new artistic director.

Despite having John Malkovich in the starring role, David Mamet's Harvey Weinstein-inspired play is a total misfire.

The flawed hero burns with anger as the color of his skin acts as a barrier at every turn.

A talented cast helps make up for a problematic book and underwhelming score.

Matthew Broderick manages to lend charisma to the most boring character in the universe.

A cross-casting approach offers a thrilling alternative way to tell our national history, but what's missing is a link to today's Britain.

Githa Sowerby's 1912 play features female characters who show a remarkable amount of strength.

Josie Rourke has reworked this musical for the modern age in the most thrilling fashion.

Although a black Willy Loman seems incongruous with his character, the performances here are exceptionally moving.

Maggie Smith gives a mesmerizing performance as a real-life woman who turned a blind eye to the Nazis' crimes.

This fragmented, unconventional piece is tough to pull off on stage, and it is mishandled here.