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Broadway

With a focus on storytelling, star power and the ever-changing Broadway scene, this is where theater lovers find honest, entertaining assessments of New York’s biggest productions. Sharp, insightful critiques that capture the essence of each performance. Lively, engaging reviews that break down the acting, direction, set design and overall production value, through a mix of seasoned opinions and fresh perspectives, covering everything from the hottest new musicals to classic revivals. Read more about Theater.

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How Pamela Harriman Became the Most Powerful Socialite in American Politics

History dismissed Pamela Harriman as a courtesan with good timing. But the woman who debriefed Winston Churchill over cards, rebuilt the Democratic Party and out-diplomatted everyone since Ben Franklin understood something her critics never did.
By Jennifer Ashley Wright
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What Rex Reed Taught Me About Truth, Kindness and Writing

The legendary film critic who mentored writers, championed outsiders and never wavered in his advice: "Tell the truth, and your work will find an audience."
By James Grissom
The cast of Broadway show Maybe Happy Ending entering a Tonys afterparty after winning Best Musical

The Broadway Musical Isn’t Dying—It’s Just Changing Keys

Heather A. Hitchens, president and CEO of the American Theatre Wing, examines why the recurring narrative that “the Broadway musical is in trouble” misses the larger transformation underway. Drawing on three decades in performing arts administration—including stewardship of the Tony Awards and major grantmaking, educational and artist-development programs—Hitchens argues that Broadway isn’t facing an artistic decline but a structural evolution, even as its financial model strains to keep pace.
By Heather A. Hitchens
A stage scene from "Art" shows James Corden bent over examining the back of a canvas with a pained expression as Neil Patrick Harris watches from behind with a slight smirk.

Brilliant or Blank? ‘Art’ Frames Love-Hate Bromances on Broadway

By David Cote
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Jennifer Simard On Her ‘Death Becomes Her’ Onstage Partnership—And Tony Competition

By Harry Haun
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‘Just in Time’ Review: Jonathan Groff Ignites Broadway in a Dazzling Tribute to Bobby Darin

By Rex Reed
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Review: ‘Dead Outlaw’ Is An Exquisite Corpse and Killer Close to the Broadway Season

By David Cote
A scene from the Broadway show 'Floyd Collins': Jeremy Jordan sings on stage, holding a lantern and wearing dirty overalls and a grey undershirt

‘Floyd Collins’ Review: Adam Guettel’s Best Work Still Lies Ahead

By Rex Reed
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Review: High Schoolers Tell Truth and Shame the Devil in ‘John Proctor is the Villain’ 

By David Cote
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‘Smash’ Is Escapist Fluff and Exactly What We Need Right Now

By David Cote
Eight women pose mid-song in sparkly black costumes against a red theatrical backdrop.

‘Sondheim’s Old Friends’ Is a Love Letter in Two Acts—One Whispered, One Roared

By Rex Reed
Six actors perform onstage in a black-and-white period newsroom set with vintage TV monitors, desks, and CBS signage.

Clooney Lights Up Broadway, but ‘Good Night, and Good Luck’ Flickers in the Footlights

By Rex Reed
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Review: Does Kieran Culkin Close the Deal in ‘Glengarry Glen Ross’?

By David Cote
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Review: Sarah Snook Blows Up in Multimedia Dazzler ‘The Picture of Dorian Gray’ 

By David Cote
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Review: Denzel Washington’s ‘Othello’ Has Star Wattage But No Illumination

By David Cote
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Review: British Musical Farce ‘Operation Mincemeat’ Is Anything But Dead on Arrival

By David Cote
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Spring Theater Preview: History Sings, Classics Get Twisted and Experiments Explode

By David Cote
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Review: Idina Menzel Goes Out on a Limb in Eco-Musical ‘Redwood’

By David Cote
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Review: ‘English’ Speaks Eloquently of Language and Loss

By David Cote
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Mare Winningham On The Dysfunctional Holiday Drama of ‘Cult of Love’

By Harry Haun
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Review: Audra McDonald Is One Mother of a Rose in a Stupendous ‘Gypsy’

By David Cote
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Review: Libs Own Themselves in the Sharp and Infectiously Funny ‘Eureka Day’

By David Cote
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To V, Or Not to V? ‘Eureka Day’ Brings the Vax Debate to the Broadway Stage

By Harry Haun
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Francis Jue on ‘Yellow Face,’ A Play About What We Believe America Is

By Harry Haun
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