Nabil Shaban, a British actor and playwright born without the use of his legs, who used his disability to heighten his performances across a wide range of roles, has died at 72.

In Minneapolis, an adaptation of Prince’s film “Purple Rain” has come alive onstage, but the impulse to cover all the bases makes for disorienting viewing.

Kristin Chenoweth lives insatiably ever after in Stephen Schwartz and Lindsey Ferrentino’s “The Queen of Versailles,” the new Broadway musical based on Lauren Greenfield’s 2012 documentary. It’s a Critic’s Pick!

Martyna Majok reimagines her 2018 play “Queens,” about the immigrant women who at various points over 16 years live in a basement apartment in the New York City borough. It’s a Critic’s Pick.

“Waiting for Godot” has delighted audiences and bedeviled scholars ever since it premiered in 1953 because Beckett never stipulated what Godot represented or even how it should be pronounced.

Laurie Metcalf is riveting in “Little Bear Ridge Road,” Samuel D. Hunter’s new play set during the Covid-19 pandemic and its aftermath. It’s a Critic’s Pick!

“Slam Frank,” a daring new satire, and “Crooked Crooked,” a quiet 1930s domestic drama, speak to each other across time, resounding quite loudly in our present.

Ari’el Stachel’s “Other” and Zoë Kim’s “Did You Eat?” are self-interrogations that deal with family, race and identity, our critic writes.

Bess Wohl’s moving play, about a group of women in 1970s Ohio, transfers to Broadway. Her exploration of the power of sisterhood and the limits of motherhood remains powerfully moving. It’s a critic’s pick.

Sandra Oh is trying something new by making her Metropolitan Opera debut in Donizetti’s “La Fille du Régiment.” She has already perfected the art of waving a fan with sass.

Zora Neale Hurston’s “Spunk,” a fable weaving together music and movement, is getting its first full staging since being rediscovered in 1997.

She was best known for playing the brash but amiable Flo on the long-running sitcom “Alice.” But she also pursued a notable stage career for decades.

“Why can’t it feel like a night in a club with a beat and a rhythm, and be something you’d want to dance to?” “Saturday Church” taps into several musical genres (and music by Sia) to tell the story of a Black teenager struggling with sexuality and faith.

“There is a feeling among Rosalyn Drexler’s friends,” Nora Ephron wrote in The New York Post in 1965, “that she is carrying this Renaissance Woman bit a little too far.” And she was just getting started.

“He’s on the outside, but you want to be outside with him,” Fred Armisen said of Julio Torres, who makes his Off Broadway debut with “Color Theories.” “It’s not like, oh, poor weird guy. It’s like, that’s where I want to travel to, that planet.”

“I don’t think you can come into this performance of ‘Pericles’ and not walk away touched on a profound level.” A new musicalized version comes to the Cathedral of St. John the Divine this weekend.

After 25 years and more than 9,000 performances as Rafiki in “The Lion King” on Broadway, Tshidi Manye hangs up her costume this Sunday.

Marisha Wallace, now starring in “Cabaret” on Broadway, talks about the liberation of acting on London stages. “It was something I had never experienced, where I was not just Marisha the Black actress,” she said.

Ozzie Rodriguez, an actor, director and playwright who carved out a unique role in the avant-garde theater world by maintaining a vast public archive of costumes, scripts and props for La MaMa Experimental Theater Club in Manhattan, has died at 81.

Shakespeare in the Park is back, baby! Lupita Nyong’o leads an exceptionally starry cast in “Twelfth Night” at the newly revived Delacorte Theater. It's a Critic’s Pick!