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The first female Asian-American playwright on Broadway takes aim at identity and watches the audience squirm.

Written by and starring Daveed Diggs and Rafael Casal, the film struggles to balance its ambition as an entertainment with its social concerns.

A powerful new revival of the 1964 musical offers a kind of authenticity no other American “Fiddler” ever has: It’s in Yiddish.

Productions include the filmmaker Todd Solondz’s first play, “Emma and Max,” and Thomas Bradshaw’s incendiary “Southern Promises.”

The Andrew Lloyd Webber musical will have played more than 1,300 performances when it wraps up in January.

Rinne Groff’s new play, at the Public Theater, brings arguments about art and relationships to Coney Island in the aftermath of Hurricane Sandy.

An outcry over Robert Lepage’s “Kanata” follows protests that shut down his show about slaves, which used a mostly white cast.

This immersive British import at Roy Arias Stages puts a crusty toilet in the center of the audience, but it lacks the film version’s sense of seamy tragedy.

In this production of J.M. Barrie’s 1904 play, Bernstein’s neglected score brings out the characters’ melancholic desires.

In this revival of Wallace Shawn’s 1979 play, a couple’s loathing creates a weird frisson of erotic challenge.