Playwrights

In the playwright’s début film, “Janet Planet,” Julianne Nicholson stars as an object of obsession for her daughter—and everyone else—over the course of a long, hot summer in western Massachusetts.

The playwright on the new production of her play “Mary Jane,” which stars Rachel McAdams as the mother of a two-year-old born with serious medical conditions.

The Tony-winning playwright’s dark, antic satires were many people’s gateway to theatre. I was one of those people.

A new play turns Arthur Miller’s experience of directing the play in Beijing into a bilingual meditation on cross-cultural encounters.

The playwright behind “The Thanksgiving Play” discusses her satire of theatre and U.S. history, the enduring prevalence of “redface” in casting, and how a background in ballet made her a better writer.

A hundred and fifty million Americans are on TikTok. Evan Osnos and Chris Stokel-Walker discuss why politicians are so keen to ban the app. Plus, Broadway’s new comedy of white wokeness.

“A Strange Loop,” a story about a Black, gay theatre nerd, was a surprise success. In his latest work, “White Girl in Danger,” Jackson reimagines the soap opera.

Combining verbal exuberance and narrative intricacy, Barry reimagines the hauntings of Irish history.

In “Misty,” at the Shed, the actor-playwright-rhapsode uses spoken-word performance to explore overfamiliar constructs of Blackness.

The playwright and author discusses preshow rituals, throbbing anger, tenderness, and her new play, “Becky Nurse of Salem.”

The Norwegian author has spent decades producing a strange, revered body of work. But he still doesn’t know where the writing comes from.

Mia Chung’s drama, by turns comedic, bitter, and ineffable, shows how racism soaks through an American family. 

Parks reflects on the revival of her groundbreaking play, and McDonagh talks about his new film, set in Ireland. Plus, an expert on voting machines discusses their real, and imagined, risks.

Debate and democracy in “1776” and “Baldwin and Buckley at Cambridge.”

The legendary playwright is out with a new play, reflecting on his family’s history in the Holocaust. Plus, the contributor Jeannie Suk Gersen on what’s next for the Supreme Court.

A conversation with the playwright about the long journey to “Leopoldstadt,” which has just come to Broadway.

How a dramaturge and a director resurrected Alice Childress’s play “Wedding Band,” about a Black seamstress in love with a white baker in 1918 Charleston, which will return to New York for the first time in a half century.

Mona Mansour’s “conditional” epic gives the “Sliding Doors” treatment to a Palestinian Wordsworth scholar in London.

How the playwright Mike Bartlett melded Trumpisms with the language of the Bard for “The 47th.”

How David Hare took a few Moses-esque liberties when writing “Straight Line Crazy,” which partly drew upon Robert Caro’s “The Power Broker” and stars Ralph Fiennes.