This production has several original touches that make it like no Fiddler you've seen before.

This is a highly entertaining joyride about an amateur production falling apart.

This modest yet engaging revival boasts period detail and a tightknit ensemble.

Finally we have a production that does this musical justice.

Mistaken identity turns tragic in Sean O’Casey's rarely seen 1923 comic drama.

God makes a visit to Earth in this new comedy, but the story is short on substance.

This take on Irving Berlin’s 1950 musical comedy is a smooth but unremarkable ride.

Sebastian Barry is a mesmerizing writer, but audiences may find this play unsatisfying in the end.

Laura Benanti's performance should silence any critics who say she's too old for the lead role.

Robert Bolt's production dramatizes the life of Sir Thomas More, who was willing to put his principles on the line.

This is a fun musical about a nice Jewish boy with maxed-out credit cards and zero game with women.

Sebastian Barry's latest about two cellmates growing close is just too ludicrous to buy into.

Calvin Trillin brings a real-life love story back to life. 

Fine performances can't make up for the lackluster script by Stephen Belber.

Despite the accomplished actors playing the brothers, this production fails to achieve the chemistry to bring Shepard's play to life.

Many of the productions of the past year were tinged with a political aura.

Playwright Nassim Soleimanpour builds a unique dramatic device that’s all heart.

Jack Neary has written an intriguing play, but the second act has a few too many twists for its own good.

The musicians are skilled, but the story about conductor Arturo Toscanini is steeped in sentimentality and smarminess.

A promising young playwright plumbs the vicissitudes of recovery.

Emily Mann’s play paints a vivid portrait of the pioneering journalist and feminist Gloria Steinem.

This is an opera so beautifully played, sung and designed that one can forgive any hollowness in the story.

The Moonlight writer offers a big-hearted portrait of young African Americans navigating class and sexual differences in private school.

While the orchestra performance and set design are amazing, Bartlett Sher’s staging has a few kinks to work out. 

Director Trip Cullman conjures a gorgeous conspiracy of elements with Tarell Alvin McCraney’s memory play.

Each of the many characters in Jez Butterworth's remarkable drama is drawn with distinct detail.

Jeremy O. Harris' experimental play is sure to make many people uncomfortable, as intended.

Cherise Boothe gives an excellent performance in this story of a woman breaking apart and trying to put it all back together again.

Aaron Sorkin has left his fingerprints all over this stage adaptation, to mixed results.

Heidi Schreck’s engaging play may stick with you long after you've left the theater.

Despite great acting, this techno-savvy adaptation is strangely out of step with some of the more searing themes in the original film.

Cher fans will be singing the praises of Stephanie J. Block, who leads three great actresses in this spectacular musical.

Bryan Cranston gives a towering performance in Ivo van Hove's stage adaptation of the 1976 film.

The giant state-of-the-art animatronics are undercut by how bad this musical is on all other fronts. 

After the dazzle of the special effects wears off, this behemoth musical feels pretty small.

At age 86, Elaine May turns in an electrifying performance as a woman whose mind is slipping away.

Arthur Miller's Depression-era piece makes more of an impact when it focuses on the deprivations of a single household.

This heavily flawed adaptation shows that some classic movies do not need to be brought to the stage.

The series of Pinter shorts ends strong with this final installment.

The imagery in Martin Crimp’s provocative new work is likely to stick with you, whether you want it to or not.

Set in a in a post-apocalyptic speakeasy, Anais Mitchell's folk opera is quirky, fiery and invigorating.

After all the hype about a show fueled by sex and violence with Cate Blanchett as its star, this production doesn't add up to much.

The latest presentation of Pinter’s overlooked works is remarkably relevant to today's Britain.

Not all of Pinter's early works need to be dug up, but these two are worth it.

London playhouses looked to American voices to fill the gaps in a year where good new writing was a little sparse.

Paul Ready is excellent in this spooky, shadowy production.

By not fully explaining his characters' motivations, Mark Ravenhill leaves audience members scratching their heads.

Anthony Neilson has stretched a short story into a mish-mashed mess of a theater dramatisation.

Joanna Murray-Smith’s engaging play features an imaginary encounter with a real-life crime writer.

Marianne Elliott has triumphantly reinvented and reframed this 1970 musical into a 21st-century fable of female singledom.

An updated version brings this musical into the 21st century, where being single in your 30s is a woman's choice.

David Hare's play asks a lot of questions about the Labour Party without providing substantive answers or connecting the story to today.