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At Princeton, new insights into subtly political portraits of Gainsborough family members.
You have a tough scene late in the play. You probably know it -- what you do at the end of it.
The lesson? Nobody owns the answer to anyone else’s racial identity.
Watching Florian Zeller's 'The Mother,' we suffer right along with the glorious French actress.
It's all about his mother (and her love life) in the part-play, part-dance 'The Mar Vista.'
A veteran TV writer-producer and "old white guy" explains his new play -- about Millennials.
A new plan puts the tots back into Tater Tots, and the kid in Steak and Kidney Pie.
Coco Fusco and Guillermo Gómez-Peña’s caged performances show us that ICE’s children in cages are dangerously vulnerable to losing their humanity.
Teenagers with well-grounded values is the best part of the play. Then there's the rest of it.
Fathers don't have to an obstacle to their sons taking ballet.
On stage, should a white character speak for her unseen Black husband and biracial child?
Every time I sat down to write this article, I thought I'd have more time.
Wall board and masking tape cover a lifetime of scars in Max Posner’s The Treasurer.
New dances in “a kaleidoscope of intersecting shapes and images" show women in all stages.
For parent artists, a new advocacy network to address needs and raise visibility.