Spirit Control Hits Some Turbulence by Alexis Soloski

Jeremy Sisto stars in MTC's airport drama

With (un)afraid, the Neo-Futurists Try to Scare Up a Halloween Show by Alexis Soloski

A fright club at the Living Theatre?

Macbeth's witches or roaring chainsaws: how do you get your Halloween stage scares? by Alexis Soloski

There's nothing to concentrate your mind like a good theatrical scare - and the Irish are better at it than most

Theater: How the Horror Can Serve the Hilarity by ALEXIS SOLOSKI

Nick Jones’s new play, “The Coward,” revels in blood in a search for laughs.

Bill Camp and Dostoyevsky Go Underground by Alexis Soloski

Robert Woodruff too--Theatre for a New Audience's new production

Penelope Pushes Homer Into the Pool by Alexis Soloski

St. Ann's Warehouse imports Enda Walsh's latest

Teller and Todd Robbins Try to Play Dead by Alexis Soloski

Isn't it necromantic?

Ghosts in the Cottonwoods Gets Cabin Fever by Alexis Soloski

The Amoralists team up with Adam Rapp and go a little Shepard-y

Full of promise but no prizes: women playwrights suffer for their age by Alexis Soloski

American theatre's Wasserstein prize for young, female writers has failed to find a winner. I'm not surprised - but is it really a gender issue?

In the Footprint's Hoop Schemes by Alexis Soloski

The Civilians charge into the Atlantic Yards project

Edgewise Serves Up an Unhappy Meal by Alexis Soloski

Eliza Clark welcomes you to fast food with a side of torture

Winter Guide: New York Theatre Workshop Uncorks Three Pianos by Alexis Soloski

A guide to winter plays

The Break of Noon and The Red Shoes Play With Souls and Soles by Alexis Soloski

New work from Neil LaBute and the U.K.'s Kneehigh

Ho! and Looking at Christmas Stuff New York's Stockings by Alexis Soloski

New pieces by Brian Dykstra and Steven Banks join a Yule-logged season

Witness Relocation's ETs Want Booze by Alexis Soloski

Whiskey-craving space creatures land in Bushwick

Inspector Sands Slips Into Hysteria by Alexis Soloski

The young London company makes its U.S. debut

Egon Schiele Paints Again in Pass the Blutwurst, Bitte by Alexis Soloski

John Kelly revives his noted performance piece

In pursuit of US theatre's past perfect by Alexis Soloski

With no Shakespearean model to set a precedent, America's history plays - as showcased in New York this month - are a varied bunch. But how closely should they stick to events?

In pursuit of US theatre's past perfect by Alexis Soloski

"Anybody can make history," Oscar Wilde quipped. "Only a great man can write it." This year on New York stages, many men and a few women have been attempting to rewrite and revise history in…

Reed Birney's Brilliant Career by Alexis Soloski

From Swiss Family Robinson to anal stage rape--a chat with the veteran actor

Alan Rickman, Corrupt Banker in Ibsen's John Gabriel Borkman by Alexis Soloski

Alan Rickman has a voice that's bitter and rich and sinister, like a malevolent cup of coffee. "At drama school, it was the subject of a great...

Under the Radar Returns to NYC by Alexis Soloski

Live actors take a backseat in four festival shows—a roundup review

Freedom Club Takes Aim by Alexis Soloski

New Paradise Laboratories and the Riot Group try assassination

Blood From a Stone Smashes Things Up at the New Group by Alexis Soloski

Ethan Hawke stars in Tommy Nohilly's family drama

Pants on Fire's Metamorphoses Puts Ovid Through Some Changes by Alexis Soloski

A British company brings its revamped myths to the Flea

Cymbeline and The Misanthrope by Alexis Soloski

English guy and Frenchie get their plays staged

No actors. Just robots. Call this a play? by Alexis Soloski

Gruesome Playground Injuries--Rajiv Joseph's Scar Trek by Alexis Soloski

The red and the black-and-blue in a new two-hander

American Sexy Likes You, Whoreface by Alexis Soloski

Bad play looks at bad kids being bad

The Whipping Man Looks at a Curious Post-Civil War Moment by Alexis Soloski

Rebs & Jews & slaves in Matthew Lopez's MTC play

The Witch of Edmonton Speaks of the Devil by Alexis Soloski

Red Bull Theater returns with its latest Jacobean oldie