Musical theater giants from Leonard Bernstein, Betty Comden, and Adolph Green to John Kander and Fred Ebb have been drawn to “The Skin of Our Teeth,” Thornton Wilder’s Pulitzer Prize-winning opus.

“These may seem like scary stories,” a character sings at the start of “The Threepenny Opera.” They do indeed. Bertolt Brecht’s sardonic lyrics and Kurt Weill’s jazzy, knife-edge score make this ...

New York City Opera will present Kurt Weill and Bertolt Brecht's thrilling double bill, The Seven Deadly Sins & Mahagonny Songspiel, for the first time ever told as one story, a tragic fable for today ...

I was struck by Robert Gottlieb’s question in his dance column last week, “How can educated and sophisticated viewers react I was struck by Robert Gottlieb’s question in his dance column last week, ...

Carnegie’s intermittently illuminating festival “Fall of the Weimar Republic” has suffered from interjections of too much standard repertory. By Zachary Woolfe Brecht’s 1944 play “The Caucasian Chalk ...

This is James Taylor with Theatre Talk. "The Rise and Fall of the City of Mahagonny must offend and repel its audience if it is to succeed." So reads the opening line of the introduction to W.H. Auden ...

Lynne Taylor-Corbett's new production for New York City Ballet of "The Seven Deadly Sins," Kurt Weill and Bertolt Brecht's 1933 "ballet chanté," which tells the story of two Louisiana sisters' ...

Theater Reviews While it's not cool to dislike or at least to not want to cuddle up with Bertolt Brecht and Kurt Weill, the librettist and composer of this dramatic comic operatic musical, the current ...