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In works like “Vanya and Sonia and Masha and Spike,” the playwright would force you to laugh, not to dull the pain but to hone it.

She received a Golden Globe in 1954 as that year’s rising star and appeared in movies alongside Dean Martin, Frank Sinatra and Paul Newman.

An interracial soirée that included intellectual and artistic luminaries set in motion one of the most influential cultural movements of the 20th century.

Why are 18 shows opening in March and April, and which one is for you? Our theater reporter has answers.

A quadruple threat, Rivera could make a lasting impression in minutes, whether onstage or onscreen. These videos illustrate why.

Buckle up for “Open Mic Night” and “Search Party” at Under the Radar and two wildly adventurous works at the Exponential Festival.

“The lessons that New York has for you around every corner — it was a big part of my young adulthood, this city,” said the singer-songwriter, who will make her Broadway debut in “Hadestown.”

She got her start on Broadway at 15. But after finding a dearth of roles for Black women, she ultimately turned to one-woman shows that addressed racism and sexism.

In a trans-Atlantic career that endured for more than 60 years, she was also known for her role in the hit Disney movie “Mary Poppins.”

The Tony winner for best musical, about a high school girl with a rare genetic disorder and a criminally dysfunctional family, will begin a national tour in September.

As part of Under the Radar, Nile Harris resurrects his play that weaves together text, sound, minstrelsy and dance to explore the American experience.

He rose to stardom in an act with Gregory Hines and also performed on and off Broadway.

No longer at the Public, the annual celebration of experimental theater disperses 17 productions across the city. About half are international works that are getting harder to import.

Melanie La Barrie, who brought the role of Angélique from the West End to Broadway, flew back on New Year’s Eve with “Hadestown” on the horizon.

The British director Carrie Cracknell’s production, opening on New Year’s Eve, resists the idea that the opera’s climactic scene is a crime of passion.

Before the fall of apartheid, his plays, which also included “Woza Albert!” and “Asinamali,” challenged the South African government’s racial policies.

He appeared memorably in “American Buffalo” and in the Pulitzer Prize-winning play “Glengarry Glen Ross.” But he gave up a career on Broadway for one in Chicago.

The musicals of Stephen Sondheim often struggled at the box office during his lifetime, but since his death several have become huge hits on Broadway.

Stories evolve. But a recent review proved to a theater critic that people can change even more.

A new revival directed by Emily Mann and starring Tim Daly leans into its flailing characters’ confusions.

“Any movie by Alexander Payne, Lena Dunham, Greta Gerwig, anything European,” said the comedian, who has a special on Max. “Anything where a woman with ennui wanders around a medieval town.”

On the heels of the new film “Maestro,” an American director will stage Leonard Bernstein’s often-reworked operetta in its “concert version.”