John Wyszniewski

The sound designer Ben Williams talks about the sonic elements that inspired his work on the play “The Terrifying,” at the Abrons Arts Center.

Rachel Bonds discusses her new play, "Sundown, Yellow Moon," which follows twin sisters as they return to their small town to find their father's life in disarray.

New Yorkers will have two chances to reassess the choreographer’s influence, first within a program of Stephen Petronio’s “Bloodlines.”

Stephen Petronio’s farmhouse is his private museum, with a focus on works from 1950 onward.

Playwright and director Julia Jarcho's The Terrifying — directed by the author and playing at Abrons Arts Center through April 2 — marks the debut production of her company, Minor Theater.

For Ars Nova associate artistic director Emily Shooltz, staying original is all about finding those weird, “diamond-in-the-rough” ideas.

A monster devours your sense of security in this scream-filled Julia Jarcho evisceration of classic horror movies at Abrons Arts Center.

The piece, originally performed in 1970 by dancers wearing nothing but U.S. flags tied to their necks, was chosen by Petronio, for his show at the Joyce, as an act of defiance.

The opening of the National Park Service’s Harriet Tubman Underground Railroad Visitor Center this month follows a bevy of related artistic projects. More are coming.

Voices are seldom raised in Rachel Bonds’s beautifully acted play, and big, confrontational truths mostly remain unspoken.

This Richard Maxwell production at the Abrons Arts Center could be described as a sugar-free version of the new Hollywood musical.

Although “Asymmetrical Response” is a two-person show, the Kitchen’s large gallery space has the feel of a single coherent installation.

Artist Paulina Olowska collaborated with choreographer Katy Pyle to create a suite of solo dances based a 1918 series of prints depicting Slavic deities.

Our critic on four notable performances from the past week, including huge headdresses, labors of love and philosophy in the library.

Yara Travieso’s staging of La Medea at the Coil festival was several shows at once — the performers themselves, live video, and other audience members, who were at times invited to join in the dance.

Interaction, immersion, identification, and exploration at this year’s Under the Radar, Coil, American Realness, et al.

FAILURE HAS ALWAYS BEEN a ripe subject for theater. The stars don’t ever align for Romeo and Juliet. The three Prozorov sisters will never live happily ever after.