Selective listings from theater critics of The New York Times.

The bed is the thing in a new rendition of one of Shakespeare’s romantic comedies.

Zach Braff follows “Scrubs” with a dream job Off Broadway, in Paul Weitz’s new play, “Trust,” at the Second Stage Theater.

It may be the season for breezy entertainment, but you wouldn’t know it from New York’s theaters.

The unconventional logistics at “See Rock City” surround a fairly conventional work of musical theater.

“Red Over Red,” a downtown thriller about plane crashes, stimulates the senses but leaves the mind alone.

“In God’s Hat,” Richard Taylor’s noirish tale of loutish people, feels downright thrilling.

Review of excellent play by 17-year-old Anya Reiss, "Spur of the Moment"

The actor and writer Marc Wolf wonders if his solo show about gay men and women in the military can, or should, change people's minds.

The Cherry Lane Theater in Greenwich Village says a shortfall of roughly $167,000 means it won’t produce plays for a year or more.

The Broadway musical that married the choreography of Twyla Tharp with the music of Frank Sinatra, announced it will close at the Marquis Theater on Sunday, Sept. 5.

More money for new plays.

While saying the producers believe that the suit is without merit, a spokesman for the show says they plan to replace the image at issue.

Newly cast in the Fox musical comedy's second season, Mr. Jackson recalled how he was supposed to be in the freshman class of "Glee" - only to be felled by a horrible case of the flu.

Mr. Colbert and Mr. Kline test Shakespeare's maxim that "men of few words are the best men."

High-concept works performed for one person at a time, long popular in Europe, are coming to New York.

In London, “You Me Bum Bum Train” thrust audience members — one at a time — into challenging situations.

Blair Singer’s “Notice Me” seems like so many other portraits of anxious teenagers, with very little to distinguish it outside of a wrong-headed commitment to being noticed.

The year's busy theater season allows audience members to see the greatness of some performers -- like Roger Allam's Falstaff -- as well as the limitations of others, or to take center stage themselves.

Many of the songs in this musical about a soul-saving Christian male group address real Roman Catholic issues.