Jonathan Mandell writes about The Boys in the Band, The Gentleman Caller, and 217 Boxes of Dr. Henry Anonymous, and discusses their portrayal of gay male characters.

New York critic Jonathan Mandell gives us a glimpse at the recently ended Broadway season, and reflects on how these shows have handled the past as a way to adapt to our current sociopolitical moment.

Jonathan Mandell reflects on the twentieth anniversary production of Basil Twist's Symphonie Fastastique at HERE Arts Center in New York City.

Jonathan Mandell looks at several current plays that depict violence by or against African Americans, including LeKethia Dalcoe's A Small Oak Tree Runs Red, Gabriel Jason Dean's Terminus, and Althea Harris's Is God Is.

Jonathan Mandell reports on the accessibility panel at BroadwayCon, which explained the forthcoming changes aiming toward a future theatre seamlessly accessible for everyone, all the time.

Jonathan Mandell looks at six theatre pieces in January that used words in unorthodox ways—as gibberish, or out-of-sync with the action; some didn’t use words at all.

Jonathan Mandell reports on the Martin Segal Theatre Center's 2018 Theatre and Resistance Symposium, and lists ten things theatre community can do right now to make a change.

This month Jonathan Mandell looks at A Room in India by French company Théâtre du Soleil, which considers the question ‘If all theatres were demolished tomorrow, would anybody miss them, and for how long?’

Jonathan Mandell gets a grip on Glass Guignol: The Brother and Sister Play, a mashup with Tennessee Williams, Mary Shelley, Lord Byron, and cockroaches—the debut production at the Mabou Mines Theater.

Jonathan Mandell looks at the Future of Storytelling festival in Staten Island, New York, which featured exhibits, productions, and performances using virtual reality, augmented reality, and mixed reality techniques and technology.

Jonathan Mandell takes on two recent plays based on real events, considering productions of Ferguson and The Siege.

Jonathan Mandell looks at three plays about caregiving on stage recently in New York.

Jonathan Mandell runs down the recent past and present dramatization of dystopian novels on stage, including 1984, and asks whether what’s on stage is reflected in the political era that we are in now.

Jonathan Mandell writes about Theater of War’s production of Antigone in Ferguson in Brownsville, Brooklyn.

Jonathan Mandell compares the countrywide reaction to the anti-Trump play Building the Wall with its reception in New York, where it's closing a month early.

Jonathan Mandell looks at the Broadway season that just ended, dividing it into escapist entertainment and socially engaged theatre, and wondering which is more needed in times like these.

 Jonathan Mandell considers his own and other reactions to the Broadway musical Come From Away, which have as much to do with what's happening in the world as on stage.

Jonathan Mandell compares The Penitent by David Mamet with Penitent by Terrance McNally, and argues that neither late-career playwright has anything for which to apologize.

In light of a recent controversy at a New Jersey high school, Jonathan Mandell talks to theatre artists about their views on using or not using the n-word in shows.