In “Fire and Air,” James Cusati-Moyer, sitting in the foreground, is the dancer Nijinsky and Douglas Hodge, behind him in the top hat, is the impresario Diaghilev. Members of their circle, from left: Marsha Mason, John Glover and Marin Mazzie.
A scene on Platform 9¾ in “Harry Potter and the Cursed Child” at the Lyric Theater. From left, Noma Dumezweni as Hermione Granger, Susan Heyward, Paul Thornley, Brooklyn Shuck, Benjamin Wheelwright, Sam Clemmett, Poppy Miller and Jamie Parker as Harry Potter.
From left, Liz Wisan, Britney Simpson, Mark Bedard, Nance Williamson and Kurt Rhoads in Shana Cooper's new production of “The Taming of the Shrew” at the Hudson Valley Shakespeare Festival.
From left, Peter Simonischek, Irina Sulaver, Aenne Schwarz and Philipp Hauss in Ayad Akhtar’s “The Who & the What” in Vienna.
The producer Orin Wolf embracing Sasson Gabay, who will succeed Tony Shalhoub in “The Band’s Visit,” during a party after the musical won 10 Tony awards.
Lauren Ridloff and Joshua Jackson spar over the role of sign language in deaf culture in “Children of a Lesser God.”
Joel Grey, center, directing Steven Skybell, left, who plays Tevye, and Bruce Sabath, right, who plays the butcher, in the National Yiddish Theater Folksbiene version of “Fiddler on the Roof.”
A backstage memorial to Jeff Loeffelholz, a standby actor in the musical “Chicago” who killed himself in June.
“In satire, you sort of imagine the unimaginable,” said Robert O’Hara, whose new play, “Mankind,” envisions a world without women.
Amir Nizar Zuabi’s play “Grey Rock” is about a Palestinian man who decides to build, in a shed, a rocket to the moon.
From left, the lighting designer Jane Cox, the costume designer Toni-Leslie James, the sound designer Jessica Paz and the scenic designer Rachel Hauck at the Delacorte Theatre in Central Park.
Ellen McLaughlin in the 1993 Broadway Production of “Angels in America.”
Dael Orlandersmith conducted interviews in and around Ferguson, Mo., to create the characters in her anguished one-woman show “Until the Flood.”
Micki Grant, in a rehearsal room at New York City Center, became the first woman to write both the music and lyrics to a Broadway musical with “Don’t Bother Me, I Can’t Cope,” in 1972.
Harriett D. Foy, center, as a slave living in a household of women that includes the imperious Beartrice Albans (played by Lynda Gravátt, right) and her daughters, played by Juliana Canfield and Nedra McClyde.
The Hungarian State Opera’s production of “Billy Elliot,” previously popular, was attacked before its summer revival by a columnist in a pro-government newspaper. The article said that the musical’s message of “Dare to be yourself” referred “of course” to being gay.
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