"Ghost Stories," an 80-minute fright show at the Duke of York's Theater, is one of those entertainments that ends with instructions to the audience.

The playwright Theresa Rebeck has become the first dramatist to be named as associate artist of Roundabout Theater Company.

In Sam Shepard’s play “The Late Henry Moss,” at the 45th Street Theater, the family that yells together is, well, stuck together.

For theater lovers, there can be no greater current pleasure than to witness Bernadette Peters perform “Send In the Clowns” in “A Little Night Music.”

Selective listings from theater critics of The New York Times.

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

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

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.

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

Ben Brantley in London considers “Spur of the Moment,” written by a 17-year-old, and early works by Eugene O’Neill and Tennessee Williams.

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.

“Bachelorette,” the sensational new comedy by Leslye Headland, is as witheringly funny as it is bitterly sad.

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

Stark economic times, and perhaps star power, have made a hit of the West End production of “The Prisoner of Second Avenue.”

“The Last Goodbye” is a musical adaptation of “Romeo and Juliet” with songs by Jeff Buckley.

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

In the musical version of Pedro Almodovar's film Ms. Benanti will play Candela, a fashion model whose lover turns out to be a terrorist.

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

Ben Brantley answers readers' questions about the London theater scene.

In Sam Shepard’s play “The Late Henry Moss,” at the 45th Street Theater, the family that yells together is, well, stuck together.