theatre

Stephen Sondheim’s 1970s comedic musical “Company” gets a modern upgrade in the Broadway tour production in Boston this month.

A dusty Sony boombox. A pile of books. An easel. A brown coat rack. A stack of cassette tapes. These are the contents of multidisciplinary artist Daniel Callahan’s mind. Or, at least, the way he will soon visualize them on stage.

James Weldon Johnson’s “The Crucifixion” is getting a local musical twist this Easter season.

King Hedley II returns from a prison sentence in 1985 to find his Pittsburgh community in crisis, burdened with violence, the effects of redlining and the unfulfilled promises of Reagan economics.

Boston theatergoers will be transported back to high school in Front Porch Arts Collective’s production of “Exception to the Rule,” a poignant and comedic piece that explores the lives of six black high schoolers stuck in detention.

Michele Avery and Yvette Modestin share a passion for artistic expression. They have known each other for over 20 years and have partnered on various creative projects. So, coming together to produce a play about the intricacies of Black hair was a natural next step.

In a dreary cubicle in Idaho, Keith, a Black, gay mortgage broker, and Ryan, a white, divorced yogurt plant worker, bond over their young daughters and the need for emotional connection and support.

After its successful Off-Broadway run in 1955, “Trouble in Mind,” a play by Black actress, playwright and producer Alice Childress (1916-1994) was slated for Broadway. But Childress resisted demands to soften its edge.

Boston’s arts scene, historically catering to an older, white audience, has been slowly but steadily making space for diverse artists and audiences. 2023 saw more music, theater, film, visual art and dance highlighting Black artists and art forms than any year in the last decade.

This holiday season, The Huntington is addressing one of the most enduring debates of the 21st century: Is “Die Hard” a Christmas movie or not? In “Yippee Ki Yay,” a one-man parody of the 1980s action film, the answer is most decidedly yes.

In 2002, the film “Real Women Have Curves” was a groundbreaking story of a young Latina finding herself and learning self-acceptance in the United States. Now that story has been transformed into a musical and is playing at the American Repertory Theater.

Langston Hughes’ “Black Nativity” has been a Boston tradition for more than 53 years.