An awkward sweetness and a laconic wit are qualities the actor Jim Parsons wields with Emmy Award-winning skill in his role as Sheldon Cooper on the television series “The Big Bang Theory.” Those are not, however, characteristics we usually associate with the Creator of the Universe. And yet, there on the Broadway stage is Parsons in the title role of “An Act of God,” a new show written by David Javerbaum and directed by Joe Mantello.

New York Times theater critic Charles Isherwood lets us in on the idea behind this act and even a couple of new commandments being issued to audiences at Studio 54.

A quiet play about a group of people working in a run-down Massachusetts movie theater is getting its second New York City production. Annie Baker’s “The Flick” might be quiet onstage, but it has made noise in the theater world, winning the 2014 Pulitzer Prize for Drama.

It was first produced at Playwrights Horizons in 2013. Now the play has been remounted in a Off Broadway production at the Barrow Street Theatre, with the original cast intact and the same director, Sam Gold, at the helm. 

How has the mix of old and new elements altered New York Times theater critic Charles Isherwood’s impression? He tells us.

A show that can take on both Shakespeare and a group of Tony nominees sounds like a wonder and “Something Rotten” appears to be just that. The new musical has racked up an impressive 10 Tony Award nominations recently, including one for best musical.

Set in the theater world of Elizabethan England and directed and choreographed by Casey Nicholaw, it’s the story of two brothers, Nick and Nigel Bottom, whose company is in desperate need of a hit to counter the overwhelming success of their chief rival, William Shakespeare. They concoct a crazy plan to sing and dance at the same time on stage — in other words, they’ve dreamed up the idea of the Broadway musical.

New York Times theater critic Charles Isherwood lets us know if the show deserves the accolades it’s already received.

Broadway has been going to the movies for so long now that it’s almost surprising that the beloved 1951 movie-musical “An American in Paris” has only now been turned into a stage show.

The man who finally undertook the challenge of brining the Gene Kelly-Leslie Caron romance to the stage is the internationally acclaimed ballet choreographer Christopher Wheeldon. He created the dances and directs the new production, which this week earned 12 Tony Award nominations, including best new musical.

The film "An American in Paris" celebrated the City of Light, but even more so the music of George Gershwin. His songs were integrated into Alan Jay Lerner’s story about an American ex-patriate, played by Kelly, and his romance with a Parisian woman, played by Caron. The climactic dance scene was scored to the Gershwin concert work for which the picture was named. The film won seven Oscars, including an honorary one for Kelly.

Now, given Wheeldon’s presence, one might assume that this stage version is a dance-driven production. Is it a ballet on Broadway, a Broadway musical, or something in between? Wheeldon is a former principal dancer with New York City Ballet and most of the dancers come from the ballet world, too, including the leads, Robert Fairchild and Leanne Cope, who get to do something rarely required of ballet artists — they sing. The playwright Craig Lucas has adapted the original screenplay by Lerner.  

New York Times theater critic Charles Isherwood visits this week to say if the stage version swings — and sings.

The 1958 movie musical “Gigi,” about a young woman being groomed for a life as a courtesan, won an impressive nine Oscars, including Best Picture. But a 1973 theatrical production did not enjoy similar success. Now a new lavish stage version has opened on Broadway. Directed by Eric Schaeffer, it stars Vanessa Hudgens, best known for the “High School Musical” franchise.

This production features a newly adapted book by Heidi Thomas, which has been revised since its first, brief, appearance on Broadway. Along with it come all the Lerner & Lowe songs made famous in the movie, including “The Night They Invented Champagne,” “Thank Heaven for Little Girls” and “I Remember It Well.”

New York Times theater critic Charles Isherwood assesses the latest “Gigi," playing at the Neil Simon Theatre.

Social scientists tell us that relocating and setting up a new home is one of life’s big stresses. So the pressure is really on when a young, upwardly mobile black man moves back to his old Brooklyn neighborhood, bringing his white girlfriend with him. Add a little more tension when the man’s former schoolmate, fresh out of rehab, arrives to crash on the couch for a while. It can push a relationship to the breaking point.

Love, fear and privilege are topics explored in playwright Tracey Scott Wilson’s new Off Broadway play “Buzzer,” directed by Anne Kauffman and now running at the Public Theater. New York Times theater critic Charles Isherwood shares his review.

Robert Askins’s dark comedy Hand to God has already had two productions Off Broadway, at Ensemble Studio Theatre and MCC Theater. Now it’s making the leap to the big time, opening on Broadway’s Booth Theatre in the thick of the spring season. The show stars Steven Boyer as a troubled, but good-hearted teenage boy whose alter ego, an evil hand puppet named Tyrone, gradually wreaks havoc on his life.

It’s pretty unusual for a play to have three separate New York runs. New York Times theater critic Charles Isherwood lets us in on what makes Hand to God so special — and so funny.

The spring theater season is traditionally dominated by Broadway openings, as the deadline for Tony awards considerations arrives at the end of April. But Off Broadway doesn’t go into hibernation. Ars Nova, a small theater dedicated to new writing, has a hit on its hands with its latest show, Small Mouth Sounds, written by Bess Wohl and directed by Rachel Chavkin.

The play is set at a weeklong silent spiritual retreat — which would seem to pose a dialogue challenge. New York Times theater critic Charles Isherwood answer the question: Do the characters break their vow of silence or is this an unusually quiet play?

The late Wendy Wasserstein hit the playwright’s jackpot in 1989, when The Heidi Chronicles took home the Tony Award, the Pulitzer Prize, the Drama Desk and New York Critic’s Circle Awards for best new play. Wasserstein’s tale of a New York City woman looking for love, but ultimately making her life — and even having a child — without a male partner, resonated with many women struggling over their life and career choices at the time.

But that was more than a quarter-century ago. Now the play is being given its first Broadway revival in a new production starring Elisabeth Moss of “Mad Men” fame. The new production at the at the Music Box Theatre is directed by Pam MacKinnon and also features Bryce Pinkham and Jason Biggs as the men in and out of the heroine’s life.

So, is the story relevant to a new generation and are the jokes still funny? New York Times theater critic Charles Isherwood answers those questions and explains how Moss puts a new spin on the title role.

Larry David was one of the masterminds behind the megahit sitcom “Seinfield,” but since then he’s become better known for playing a version of himself in the HBO series “Curb Your Enthusiasm.” Now he’s on Broadway in Fish in the Dark, which he wrote and stars in, alongside a cast that includes Rita Wilson, Ben Schenkman and Rosie Perez.

You might be wondering if the Larry David you know from “Curb Your Enthusiasm” is the guy you’re going to see on Broadway. New York Times theater critic Charles Isherwood answers that question, and a few others. 

Directed by Anna D. Shapiro, Fish in the Dark continues through June 7 at the Cort Theatre.