Archive

The Pass

August 8, 2026

John Donnelly’s "The Pass," which arrived at London’s Royal Court Theatre in 2014 and now makes its American premiere at La MaMa, is the sort of play whose subject seems almost unnervingly well chosen for the present moment. Professional soccer has never been more culturally omnipresent in the United States, while the question of what elite sports permit—or refuse to permit—men to reveal about themselves has acquired an urgency that extends far beyond the playing field. Yet Donnelly’s play is not a consoling story about athletes discovering the liberating possibilities of love. It is considerably darker, and more interesting: a study of a man who has so thoroughly converted himself into a marketable public object that, by the time he is offered the possibility of recovering his private self, he may no longer know what that self is. Across three hotel rooms and twelve years, "The Pass" traces the wreckage produced when ambition, masculinity, desire, celebrity, and shame become so thoroughly entangled that success itself begins to resemble a form of imprisonment. [more]

The Vessel

August 6, 2026

George's accomplishment lies in recognizing that public catastrophes reverberate far beyond the headlines. His protagonists are not heroes in any conventional sense but three hourly employees earning modest wages as "Park Ambassadors," a title whose corporate optimism barely conceals the grim reality of their assignment. They answer tourists' questions, direct pedestrian traffic, and, above all, watch. They observe faces, gestures, pauses, and hesitations, searching for invisible signs that someone has arrived not to admire the skyline but to disappear from it. Such vigilance is psychologically exhausting precisely because it demands certainty where certainty can never exist. George understands that the deepest wounds inflicted by preventable tragedy are often borne by those who survive wondering whether a different word, glance, or gesture might have altered another person's fate. [more]

Hungry Women

August 6, 2026

Melissa Maney’s "Hungry Women" has a fascinating premise: what would the world be like if there were no men? Obviously, things would be different, but would they be any better? However, the play attempts to be too many things: a critique of Victorian marriage, a sci-fi play set in the future, a socio-political drama, a totalitarian power play. Divided in three parts (“Hungry Women,” “Curious Women” and “Scared Women”), the play seems to be three different one acts as the styles and tones change in each. Daniella Caggiano’s direction is superb except for a great deal of shouting in the third and last scene. However, she does not help unify the play into a coherent whole. [more]

Hershey Felder: The Piano and Me

August 1, 2026

Hershey Felder in a scene from his “The Piano and Me” at 59E59 Theaters (Photo credit: courtesy of Hershey Felder…

Famous pianist Hershey Felder has toured the world with his many shows about legendary composers from Chopin and Tchaikovsky to Gershwin and Irving Berlin giving over 6,000 performances. Now he has chosen to tell his own story from his upbringing in Montreal to the present and proves himself to be a consummate storyteller both on the piano and in words, incorporating the most famous piano show pieces of the last 250 years. Called "The Piano and Me," the show is riveting for both classical music aficionados as well as those unversed in anything other than pop music of today. Playing 16 people who were instrumental in his career, he brings them all to life for us. [more]

The Saviors

July 31, 2026

Ivan Howe as Michael, Stanley Simons as Julian and Julius Rinzel as Paul in a scene from the Atlantic Theater Company’s…

"The Saviors," Bubba Weiler’s second play to be produced in New York in the past year is a coming-of-age play about how to live your life as well as loss of faith. All of its four characters are lost souls and each is trying unsuccessfully to save the other. Tenderly directed by Jack Serio who also directed Weiler’s acclaimed "Well, I’ll Let you Go," the play’s two teen altar boys, acted by Ivan Howe and Julius Rinzel, are actually 13 and 14, giving the play a verisimilitude few productions have. [more]

Giulia: The Poison Queen of Palermo

July 30, 2026

Feminism did not start in the 20th century. Three-times Grammy winner country singer-songwriter Jennifer Nettles has written an exciting new musical (book, music and lyrics!) inspired by the true story of Giulia Tofana, the 17th century Sicilian woman who is reputed to have poisoned 600 men. Set in 1653, these were the days when the Catholic church forbid divorce and men were kings of their castle with downtrodden wives who were at their beck and call. Brilliantly directed by Mary Zimmerman, "Giulia: The Poison Queen of Palermo" now at the Perelman Performing Arts Center -PAC NYC (which last season gave us "Cats: The Jellicle Ball") is a dynamic show with suitably Broadway pretensions in its elaborate production. [more]

The Whoopi Monologues

July 26, 2026

Kecia Lewis as Lurleen (foreground) and the cast of Whoopi Goldberg’s “The Whoopi Monologues” [more]

This Lime Tree Bower

July 25, 2026

Christopher Ryan directs with remarkable confidence in the material's stillness. Presented upstairs at Quick Eternity, a cocktail bar tucked into the Seaport, the production dissolves the customary boundary between actor and audience. There is no conventional stage, scarcely any scenery, and almost no distance separating performer from spectator. Ryan wisely resists the temptation to manufacture unnecessary movement. Instead, the actors drift naturally among chairs, windowsills and walls, remaining present even while another tells his story, reacting with the smallest smile or glance. What might have become three isolated monologues instead resembles an evening in an Irish pub where conversation ricochets effortlessly from one raconteur to another. Ryan understands that McPherson's drama depends not upon theatrical embellishment but upon absolute trust in language, rhythm, and listening. The result is intimate in the truest sense: one feels less like an audience member than an invited confidant. [more]

Così fan Tutte (Teatro Grattacielo)

July 22, 2026

Jordan Rutter-Covatto as Trinculo in a scene from Teatro Grattacielo’s production of Joseph Summer’s opera “The Tempest”…

Giovanna Yang as Despina, Lina Chung as Fiordiligi, Ricardo Diaz as Ferrando, Young Kwang Yoo as [more]

The Tempest (Teatro Grattacielo)

July 21, 2026

Don’t attend the world premiere of Joseph Summer’s new opera version of William Shakespeare’s "The Tempest" expecting to recognize the text or the characters. Both the libretto by Eve Summer and staging by Teatro Grattacielo’s artistic director Stefanos Koroneos have done their own thing with the original. If you don’t read the program notes before the performance you may be rather confused as to the approach. According to the statement from Koroneos in the program, he imagines Prospero, normally the deposed Duke of Milan, as a film director inside a crumbling 1980s film studio. The enchanted island is filled with inflatable tropical plants, cheap plastic pink flamingos and plastic vines, with a cameraman quietly recording it all. Prospero, previously a magician in thrall to his books, is here seen at an old-fashioned typewriter turning out pages to what one assumes is his latest screenplay. However, if you have not read the notes none of this will be obvious. You may find yourself confused by the typing. [more]

Sukkot

July 21, 2026

Matthew Leavitt’s "Sukkot" begins with a deceptively simple premise: a grieving widower builds a sukkah because he believes it is the closest remaining path to his late wife. From that premise emerges one of the most satisfying new family plays to arrive this season, a comedy-drama that understands grief not as a singular emotion but as an unruly collection of contradictions. It is uproariously funny without ever mocking pain, deeply moving without reaching for sentimentality, and wise enough to recognize that families often express love most fluently through irritation. The 6th Act's superb production at 59E59 Theaters, directed with remarkable assurance by Joel Zwick, allows Leavitt's finely calibrated script to breathe, laugh, and ache in equal measure. [more]

Julius Caesar (Ensemble Shakespeare Company)

July 19, 2026

Rob Hatzenbeller as Brutus standing over the body of Caesar (Mark Dacascos) in a scene from Ensemble Shakespeare Company’s…

In its second producing year, Ensemble Shakespeare Company is offering a fine staging of "Julius Caesar" with some debatable casting choices. As directed by Dylan Diehl, the use of theater in the round focuses the attention center stage for all except Marc Antony’s funeral oration where he climbs up various staircases to give all a vantage to hearing him give his speech. The modern dress production adds a contemporary gloss to an ancient story which still has political relevance. Except for some minor quibbles this is a fine production for both those new to "Julius Caesar" and those very familiar with it. [more]

The Taming of the Shrew

July 19, 2026

Juan Arturo As Petruchio and Kate Eastman as Kate in a scene from Small Boat Productions’ revival of William Shakespeare’s…

What ultimately distinguishes this production is its refusal to flatten Shakespeare into a contemporary thesis. It neither apologizes for the play's misogyny nor sensationalizes it. Instead, Otto trusts that audiences are capable of holding competing truths in their minds simultaneously: that "The Taming of the Shrew" is uproariously funny, dramatically exhilarating, and profoundly unsettling. In embracing the play's ambiguities rather than escaping them, Shakespeare CSE has launched its "Shakespeare Entirely" series with a production that is not only intellectually invigorating but also enormously entertaining—a reminder that the greatest classics endure not because they provide easy answers, but because they continue asking impossibly difficult questions with inexhaustible theatrical delight. [more]

Are You Now or Have You Ever Been: An American Docudrama

July 16, 2026

Resizee 500 Jason Babinsky, Michael McKean and Adam Kantor as the Interrogators in Are You Now 4 (Marc J. Franklin)

Eric Bentley’s 1972 docudrama "Are You Now or Have You Ever Been" is a powerful play based on the original testimony of the artists, writers and performers who were called to testify before the House Committee on Un-American Activities during the Communist scare of the 1940s and 50s. Originally subtitled “The Investigations of Show-Business by the Un-American Activities Committee 1947 – 1958,” the play remains a reminder of repression and fear tactics so like today’s investigation of so-called enemies of the current administration. Although those times are now called the McCarthy Era, Senator Joseph McCarthy had nothing to do with the House of Representatives Committee that the play depicts as he had his own Senate investigation body. [more]

Henry VI: A Trilogy in Two Parts

July 15, 2026

Jon Norman Schneider as King Henry VI and the cast of the NAATCO production of William Shakespeare’s “Henry VI: A Trilogy…

Although the three plays have been reduced to two and many of the actors appeared previously in the 2018 production, Henry VI is still challenging for audiences unfamiliar with the Hundred Years War or the War of the Roses. Even with an ensemble of 16, the actors play between three and nine characters each so that you are never entirely sure who anyone is when they appear. With women playing men (mostly to add a few female characters to the play), it is not only often confusing but makes the wrong statement like the Duke of Gloucester played by a female and then his wife being a major character later in the play. Even with 16 cast members some of the court and battle scenes look underpopulated on the large stage. The costuming, a combination of modern and medieval by the collective threeASFour which resembles outfits by Comme des Garçons, does not entirely help even though the English wear black and white in Part I and the French wear black. Due to the number of dukes and earls, it would have been helpful if they wore defining outfits that set them apart from each other. In Part II, the Yorkists wear a white signifier while the Lancastrians wear red but this still does not make it easy to recognize particular characters. [more]

The Potluck

July 15, 2026

César Alvarez's "The Potluck," directed with uncommon daring by Sarah Benson, is that increasingly rare theatrical achievement: a musical willing to risk confusion, contradiction, and formal unruliness in pursuit of emotional and historical truth. Inspired by the 1979 Greensboro Massacre—in which members of the Ku Klux Klan and the American Nazi Party, aided by astonishing failures of law enforcement, murdered five labor organizers during an anti-Klan demonstration—the production refuses to transform political martyrdom into tidy historical pageantry. Instead, Alvarez, in concert with Benson's characteristically adventurous theatrical imagination, constructs an expansive meditation on inheritance, memory, identity, and the uneasy obligations of art itself. The result is not documentary theater, nor autobiography, nor agitprop, nor conventional musical comedy, but an exhilarating synthesis of all four. It unfolds less as a linear narrative than as an act of excavation, uncovering the ways political violence reverberates through generations long after headlines have faded. [more]

What a World! What a World!

July 14, 2026

The script from Marlin ("Shot List" at Baryshnikov Arts Center; "How to Mourn the Dead: a tragedy (in flux)" at Montclair New Works Initiative) is shaky at times but undeniably has some great moments and interesting ideas. Its central premise is quite clever: when two artists try to stage an homage to their favorite old movie, they begin fighting about anything and everything. This constant bickering mixes memorable quotes amidst deeply human moments. Both characters have a remarkable amount of interiority for a play so focused on playing out miniature Socratic dialogues, with the personalities often enhancing each character’s status as a stand-in for their respective philosophies. [more]

Suddenly Last Summer

July 13, 2026

Mikaela Bennett as Catherine Holly, Branden Lindsay as Dr. Cukrowicz and painter Lucy Tarquinio in a scene from Courtney…

In the hands of avant garde director Daniel Fish, the world premiere of Courtney Bryan’s first opera "Suddenly Last Summer" derived from the one-act play by Tennessee Williams is more a performance piece than anything else. In the libretto created by artistic director Gideon Lester and Fish, only the role of Catherine Holly is sung while all the rest are spoken. Catherine does not have any sustained music until the last 23 minutes of the opera which are almost entirely hers. However, as staged at the LUMA Theater of the Fisher Center at Bard College you are most likely to remember the visual aspect of the production which overpowers the musical portions. [more]

ON THE TOWN WITH CHIP DEFFAA…. AT “A WALK ON THE MOON”

July 13, 2026

Pamela Gray--an insightful writer with a terrific ear for dialogue--has turned her 1999 motion picture, "A Walk on the Moon," into a new musical with a knockout cast. The score is uneven, but the show is so abundantly filled with life--and such strong performers--I want to see it again. [more]

Pied À Terre

July 12, 2026

John S. Anastasi’s "Pied À Terre" is one of those small cast dramas with a lot of secrets to unload. Unfortunately, director Mitch Poulos has staged the play at so slow a pace that it seems to take twice as long as it should. It also has a tricky structure, going back and forth between the present and the past, so that the revelations are greatly delayed. One of the biggest secrets is revealed just before the unnecessary intermission which only serves to make the play longer. [more]

A Walk on the Moon

July 5, 2026

The new musical "A Walk on the Moon" by original screenwriter Pamela Gray and composer and lyricist AnnMarie Milazzo is pleasant but innocuous. Based on the hit 1999 movie set during the summer of 1969 that starred Diane Lane, Liev Schreiber, Viggo Mortensen, Tovah Feldshuh and Anna Paquin, the stage musical feels like a watered-down version of the film. While the film had time appropriate songs from the 1960s, the stage version has new bland, unmemorable songs that do not forward the plot. The hard-working cast headed by Talia Suskauer, Max Chernin, Sam Gravitte and Andréa Burns under the direction of Sheryl Kaller never make us forget the performances from the film. [more]

ON THE TOWN WITH CHIP DEFFAA… MEETING CABARET’S YOUNGEST ARTIST, ETHAN MATHIAS

June 30, 2026

#7. Ethan Mathias (courtesy of Ethan Mathias)

In the past year, Ethan Mathias has won one award and honor after another, from the Broadwayworld Award to the MAC Award, to first-place honors at the NATS. To learn more about this rising star, I sat down to chat with him at his music director’s home.... [more]

That Math Show

June 30, 2026

Dr. Arthur Benjamin is a charming, genial “math-e-magician” and professor of mathematics. Presented by Science Theater Company in association with the National Museum of Mathematics (MoMath.org), the company that brought you "That Physics Show" and "That Chemistry Show," Benjamin’s one-man show "That Math Show" is a delightful evening for people nine to 90. His fun with math is infectious with audience members vying to get chosen to come up on the stage and participate. As a human calculator, he is not to be believed. [more]

Lines

June 29, 2026

A theatrical audition has always carried the faint aura of ritual: a small room, a handful of strangers vested with authority, and an actor asked to compress talent, vulnerability, and desperation into a few fleeting minutes. "Lines," a taut new psychological chamber play by Bellamy Brewster and Ewan Lloyd, recognizes that the audition is already a form of theater—and then pushes that premise into increasingly disquieting territory. Brewster, who also directs, transforms the familiar rituals of casting into a claustrophobic examination of power, ambition, and the hidden price of artistic validation. Set entirely within the confines of an audition room, the play begins with recognizable industry conventions before gradually mutating into something far more sinister. As the process unfolds, the rules become increasingly rigid, the room itself seems to contract, and what initially appears to be a professional evaluation evolves into an unsettling psychological contest. The central question lingers over every exchange: What, exactly, is the cost of being chosen? [more]

Dad Don’t Read This

June 29, 2026

Under Claudel’s direction, the four actresses are totally believable as teenage girls circa 2014, with Yoo’s Mal giving the most layered and mysterious performance. (Yoo had her big break last season as the conflicted Raelynn in Kimberly Belflower’s John Proctor is the Villain.) Although the play is completely authentic and persuasive, as it is plotless we do not know where it is going. Nothing much happens nor do the girls grow up in the course of the play. They do eventually each reveal their fears about growing up and what the future holds for them. Each of them seems to be suffering from an unspoken trauma they only hint at. If you don’t identify with one of the four individual girls, you might be bored by the lack of action on stage though it all is very convincing. [more]

Misterman

June 28, 2026

Walsh has long been fascinated by characters imprisoned within the architecture of their own memories, people condemned to relive the past not because they have forgotten it, but because they remember it with unbearable precision. "Misterman" may be his most devastating examination of that obsession. Thomas Magill, a profoundly isolated young man living alone in the Irish village of Inishfree, believes himself chosen to shepherd his neighbors toward God's grace. Every morning he ventures into town with his pen and pad noting what his flock must work on to improve their paths to heaven, determined to save their souls, convinced that he alone sees their hidden sins and their capacity for redemption. Yet beneath this evangelical certainty lies a psyche splintering under the weight of grief, abuse, loneliness, and delusion. Walsh transforms what could have been a familiar portrait of mental illness into something metaphysical: an inquiry into the terrible cost of constructing a reality so complete that it ultimately devours its creator. [more]

Camping

June 26, 2026

What emerges over time is not merely a friendship but one of the most intricate love stories currently playing in New York. Ari and Brit have been entwined since birth, neighbors in a trailer park, companions through every formative humiliation and triumph. They know one another with an intimacy that exceeds romance even as it continually gestures toward it. Their connection exists in that difficult territory where friendship, devotion, desire, resentment, dependence, and yearning become impossible to separate. Theater often struggles to depict such relationships without reducing them to categories. Barclay refuses simplification. The result feels startlingly true. [more]

La Cage aux Folles (New York City Center Encores!)

June 24, 2026

Billy Porter and Wayne Brady in a scene from the Encores! production of the Jerry Herman-Harvey Fierstein’s “La Cage sux…

Few musicals occupy quite the same place in the American theatrical imagination as "La Cage aux Folles." Jerry Herman and Harvey Fierstein’s 1983 landmark arrived disguised as an old-fashioned musical comedy—complete with farce, mistaken identities, and melodies that seemed to float effortlessly into the ear—yet it carried within it a quietly radical vision of queer domesticity. More than four decades later, that vision remains startlingly potent. At a moment when drag artists once again find themselves the targets of political opportunism and manufactured moral panic, Robert O’Hara’s exuberant New York City Center Encores! revival feels less like an exercise in nostalgia than a reaffirmation of the show’s enduring conviction that family is defined not by conformity but by love. [more]

Small

June 21, 2026

Montaro’s career as an actor allows him to create a different voice and stance for each jockey, trainer and owner that he describes. That is enhanced by the atmospheric sound design by Brian Ronan, and the moody lighting by Jamie Roderick which puts us in the jockey room and track. The pitch perfect unit set design by Christopher Swader & Justin Swader represents both part of the stable and the tack room. Under the astute direction of Jessi D. Hill, not only is Montaro able to convince us that he is a teenager but we watch him grow up before us as he goes from age 12 – 20. He puts us in the middle of exciting races as he recreates his reactions to being on horseback and eventually to the abuse of his body to keep his weight down. "Small" is a unique and engaging show from someone who has been there and knows how to recreate this milieu. It is easy to imagine a follow up show where Robert Montano tells us the story of his dance career where he eventually gets to play his dream role of Bernardo in "West Side Story," but that would be another story. [more]

Silverback Mountain

June 16, 2026

Olamide Asanpaola, Leo Jasper Davis, Jason Yanto, Joe Regelbrugge and Mickey Gooch, Jr. in a scene from Gooch, Jr.’s…

June designated as Pride Month is a time when a great many plays and entertainments are geared specifically for the gay community. The latest is Mickey Gooch, Jr.’s "Silverback Mountain," a semi-musical comedy on relevant gay themes that has been given a less than irrelevant treatment and production. Gooch, Jr. has written and stars in the show which is probably more than one person should do at one time, with original songs by Alex Lewis. The subtitle “A new gay jungle play” suggests a farcical evening but Sam LaFrage’s scattershot direction undermines what real comedy is inherent in the premise. Some of the humor and gimmicks are reminiscent of "The Book of Mormon" which is much slicker and more successful at this kind of parody. [more]

Romeo and Juliet (Free Shakespeare in the Park)

June 15, 2026

Ra’Mya Latiah Aikens and Daniel Bravo Hernández in a scene from The Public Theater’s production of “Romeo and Juliet” at…

Associate artistic director/resident director Saheem Ali of The Public Theater believes in updating Shakespeare in ways that modern audiences can identify with. His latest production of "Romeo and Juliet" which now graces the stage of the Delacorte Theater in Central Park has taken a big risk in putting a good deal of the play into Spanish (in translations by Alfredo Michel Modenessi) but as his version takes place on the US southwestern border with a wall designed by Maruti Evans that looks much like the real one on our border, this makes perfect sense. With faces covered by bandanas, the Montagues put up signs that say “Abolish ICE” and “Defund the Wall” while the Capulets appear to be a vigilante force dressed entirely in black. One wishes the production were either more or less political. Since so many of the lines in "Romeo and Juliet" are iconic by now (most middle school students having read the play) there is little problem in following the text even if one doesn’t know Spanish. [more]

And Then the Rodeo Burned Down

June 11, 2026

Natasha Roland and Xhloe Rice in a scene from their “And Then the Rodeo Burnt Down” at Ars Nova (Photo credit: Ben Arons)

Throughout, Rice and Roland demonstrate extraordinary command of tone. They move effortlessly from slapstick to philosophical inquiry, from broad clowning to moments of startling vulnerability. Their dialogue crackles with wit, but it is their physical storytelling that leaves the deepest impression. Every gesture feels considered. Every movement carries meaning. The years of collaboration between these artists are visible in every second of stage time, producing a level of trust and precision rarely encountered even among the most accomplished theatrical partnerships. [more]

Jerome

June 11, 2026

John J. Caswell’s "Jerome" is a lovely low-key play about a love, loss and illness. However, Dustin Willis who also directed Caswell’s "Wet Brain" at Playwrights Horizons never really lets us know where the play is going and its loose ends tend to get in the way. However, its excellent cast of three, two-time Tony Award winner Stephen Spinella, Jeorge Bennett Watson and Ken Barnett keep us interested in the fate of these three men, one dying of kidney and heart disease, while the others try to keep him alive and contented. [more]

In the Devil’s Hands

June 9, 2026

Helen Banner’s "In the Devil’s Hands," receiving its haunting world premiere at Zoopraxic’s newly opened Long Island City performance space, is one of those rare theatrical experiences that seems to alter the rhythm of time itself. Inspired by the true story of Alphonse Le Gastelois, the Jersey resident who voluntarily exiled himself to a barren reef after being falsely suspected of a series of crimes, Banner transforms a historical curiosity into a profound meditation on loneliness, forgiveness, memory, and the strange seductions of self-imposed isolation. Set in the aftermath of the Nazi occupation of the Channel Islands during the 1940s, the play unfolds with the inevitability of a tide, drawing audiences into a world where innocence is insufficient protection against suspicion and where exile can become both punishment and refuge. [more]

Mary, Queen of Scots (Scottish Ballet)

June 9, 2026

Harvey Littlefield as Young Elizabeth, Charlotta Öfverholm as Older Elizabeth and Roseanna Leney as Mary in a scene from…

The Scottish Ballet’s exciting "Mary, Queen of Scots" tells its complicated story extremely well and balances classical and modern choreography with ease. Its minimal décor helps make swift transitions between the scenes without making the audience feel that the stage is underpopulated. The costume choices link the past and present so that we are not kept out of this Elizabethan story. The new score by Mikael Karlsson and Michael P. Atkinson avoids dissonance while also keeping it theatrical for modern audiences. This is a worthy addition to the repertory of contemporary dance. [more]

||: Girls :||: Chance :||: Music :||

June 8, 2026

The title of Eisa Davis’ "||: Girls :||: Chance :||: Music :||" tells it all: four gifted teenagers attend a prestigious girls’ music program in Berkeley, California, apparently for underprivileged students. Some have attended previously; some are new to the program. All are devoted to music: Fax for singing, Margot on the drums and percussion, Rile on the piano, and Clementine on the oboe and baritone sax. The play covered their studies and their interactions: some become friends, some enemies, and some would like to become lovers. Chance plays a role in their lives and choices. [more]

Girl, Interrupted

June 8, 2026

The Public Theater's adaptation of "Girl, Interrupted" is billed as a play with music. Curiously, the show isn't simply advertised as a musical--or as a concept album with lots of free-associative liner notes. Based on Susanna Kaysen's fragmented memoir about her 18 months of psychiatric confinement in the late 1960s, the production juxtaposes, rather than blends, the labors of iconic songwriter Aimee Mann and Pulitzer Prize-winning dramatist Martyna Majok. This approach allows each artist to pursue her own creativity while sparing director Jo Bonney from having to narratively merge their idiosyncratic contributions. It apparently explains, too, why "Girl, Interrupted" isn't officially a musical, since Mann's score doesn't have to push the plot forward--though, in fairness, Majok isn't worried about doing that on the script side, either. [more]

The Maids

June 7, 2026

Part of the play is an eye-filling fashion show with Solange and Claire trying on Madame’s gowns or taking them out of her closet to ogle them. However, what is most remarkable about Williams’ production is his use of technology as he did in his "Picture of Dorian Gray" with Sarah Snook on Broadway and his recent "Dracula" with Cynthia Erivo on the West End. The video technology used in "The Maids" is startling, almost overpowering at times. The mirror-lined closets and doors become giant screens that show us Madame’s online posts as well as her live footage of Solange, Claire and herself (from video designer Zakk Hein). Using Tiktok filters and effects she turns them grotesque or changes their face or features. Eventually in a dream sequence, Solange leads Claire through Madame’s closets and they visit a hallucinatory world of fantasy that we see on the screens. The fact that the screens are 13 feet high adds to the power and the effectiveness of these images. [more]

The Circuit

June 6, 2026

"The Circuit" is a multimedia dance show that takes place outside, using a combination of narration, dance, and music that allows the audience to watch a story unfold across the streets of DUMBO. Audience members are given headphones that play both the show’s score and its dialogue, delivered via prerecorded voiceover while the performers act and dance silently. Director John Kroft ("Dan Cody’s Yacht," "The Weak and the Strong") and choreographer/co-director Josh Zacher ("How the Grinch Stole Christmas," "La Cage Aux Folles") stage the performance wonderfully, making innovative use of the city as a set. [more]

I Wanttt a Unicorn Frappe!!!

June 4, 2026

Rachel Lin as Jenny and Fernando Gonzalez as The Prince in a scene from Catherine Weingarten’s “I Wanttt a Unicorn…

While "I Wanttt a Unicorn Frappe!!!" could have been a satire on wedding and wedding planning, the mockery is much too mild and familiar to have any sting. Both Darla and Cassandra are way ahead of Jenny on noticing that Sebastian is not to interested in her – as are we. Why it takes so long for Jenny to wake up to reality is a mystery. However, the unicorn frappe may be a metaphor for the pink dream that she has about her life once married though it appears to all be in her head. The play is much too long for its content, going over the same ideas over and over. [more]

ON THE TOWN WITH CHIP DEFFAA… CELEBRATING “BROADWAY BEFORE BEDTIME”

June 2, 2026

There are plenty of podcasts dealing with theater and pop culture. (I’ve been a guest on my share of them.) The podcast “Broadway Before Bedtime”—presenting new episodes every week--features two theater pros interviewing other theater pros. What makes this podcast unique is that its gifted co-creators/co-hosts—Yair Keydar and Remi Madden Tuckman--are just 13 years old! They first gained attention when they alternated, playing a key character, “Brendan,” in the 2024-25 Off-Broadway musical, Drag. I wrote in these pages back then—and I choose my words with great care--that they were the most talented child actors on stage in New York that season, and about as impressive as any child actor I’d seen in years. [more]

Joe Turner’s Come and Gone

May 31, 2026

Unlike earlier New York productions, for this "Joe Turner's Come and Gone" set designer David Gallo has moved the set and action up close to the audience. It is as though we have been invited into the boarding house ourselves. Surrounding the boarding house are the factories and bridges that make up Pittsburgh’s life blood. Boone is more sympathetic than previous actors who have played Herald Loomis, a troubled man but one we can sympathize with. As his wife Martha, Abigail Onwunali brings an otherworldliness that adds another level to the play. As Bynum, Santiago-Hudson also endows his character both authority, wisdom and spirituality. [more]

Indian Princesses

May 31, 2026

Serenity Mariana as Hazel, Haley Wong as Samantha, Lark White as Maisey, Anissa Marie Griego as Lily and Rebecca Jimenez

The play is interesting and enlightening for those of us not aware of this chapter of American history. However, the author doesn’t make it easy for the audience to follow the characters: all nine characters, fathers and daughters, are introduced simultaneously in the first scene so that it is difficult to know who is who and who goes with which. There are ways of introducing a great many characters in groups so that we can keep them differentiated but Rodriguez has not done that. Plus the characters do not always call each other by name which would help sort out the confusion. [more]

Dirty Books

May 28, 2026

For most of its running time, "Dirty Books"—a slyly seductive immersive production written and directed by Mara Lieberman for Bated Breath Theatre Company—behaves less like a play than like a forbidden object one has discovered hidden in a filing cabinet marked “Moral Decay.” The audience enters a narrow white-walled performance space on West 14th Street that has been transformed into a miniature museum of American censorship: stacks of banned books, clothespinned documents, timelines of obscenity law, View-Masters displaying coyly erotic photographs, typewriters waiting for confessions. Before a word of drama has officially begun, the production has already implicated us in its central question: who gets to decide what stories may be told, what desires may be spoken aloud, and what forms of intimacy are permitted to exist in public? [more]

Animal Wisdom

May 26, 2026

There are evenings in the theater when one feels not merely entertained but altered—mysteriously unfastened from the ordinary mechanisms of perception and delivered into some older, stranger chamber of human experience. Signature Theatre’s revival of Heather Christian’s astonishing "Animal Wisdom," now directed with ecstatic precision by Keenan Tyler Oliphant, belongs emphatically to that rare category. To call it a musical is technically accurate in the same way that calling a cathedral a building is technically accurate. What Christian has fashioned is less a stage work than a séance disguised as an oratorio, a requiem disguised as autobiography, and a communal rite disguised—very loosely—as theater. The evening begins with a sly acknowledgment of its own displacement. This piece, we are informed, was intended for a ruined church or some other “holy space,” though the observation quickly becomes theological rather than logistical: theaters, after all, are continually deconsecrated and reconsecrated. By the time the performance ends, one understands precisely what Christian means. The Romulus Linney Courtyard has ceased to function as a conventional performance venue. It has become a sanctum for grief, memory, and ecstatic release. [more]

ON THE TOWN WITH CHIP DEFFAA… AT PENNY FULLER’S “A LIFE IN THE THEATER” AT BUCKS COUNTY PLAYHOUSE

May 26, 2026

Cropped 400 Penny Fuller in the recording studio (Chip Deffaa)

Penny Fuller in the recording studio (Photo credit: Chip Deffaa) Chip Deffaa, Editor-at-Large I [more]

Schmigadoon!

May 25, 2026

Sara Chase, McKenzie Kurtz, Brad Oscar, Alex Brightman and the company of Cinco Paul’s new [more]

Specimen

May 25, 2026

Visually, "Specimen" resembles the fever dream of a junk dealer raised on 1970s science fiction. We anxiously anticipate the arrival of Robot B-9 from" Lost in Space" shouting “Danger, Will Robinson!,” but that level of comfort zone never materializes…wink, wink. The set, designed collaboratively by Sharp, McCormick, and Mancinelli, is a glorious landfill of keyboards, monitors, knobs, exposed wiring, and industrial debris. It evokes a radical version of the control room from any low budget sci-fi film of the 70s, as though salvaged after decades drifting through radioactive space. David Zeffren’s lighting bathes the production in bruised blues and flashing emergency reds, transforming the basement theater into a claustrophobic purgatory of technological exhaustion. The entire environment feels one electrical surge away from extinction. [more]

The People Versus Lenny Bruce

May 23, 2026

Resized 500 Stephen Schnetzer, Dan Grimaldi, Johnny Anthony and Ian Lithgow in LENNY BRUCE PROD SHOT 2 (Rus Rowland)

The trials and downfall of groundbreaking 1960s counterculture comedian Lenny Bruce is a fascinating story judging from the success of Julian Barry’s play "Lenny," Bob Fosse’s film version and a myriad of documentaries. Susan Charlotte has attempted to duplicate that success with The People Versus Lenny Bruce, adapted from civil rights lawyer Martin Garbus’ 1972 account of his part in the trial in the chapter of the same name in his book "Ready for the Defense." Unfortunately, Charlotte has not followed the theater dictum to show not tell and too much of the play is devoted to the defending lawyer’s very flat delivery of not very interesting narration. Another major problem may be that the evidence presented in 1964 is no longer very shocking in 2026 and it now seems that it should have been an open and shut case for which Bruce was convicted. [more]

The Emporium

May 22, 2026

John, discovered as an infant in a basket outside the grand department store known as the Emporium, grows up haunted by the place’s almost metaphysical allure. Like so many Wilder protagonists, he is both an innocent and a seeker, a fundamentally decent American pilgrim wandering toward a destination he only dimly understands. The Emporium itself becomes at once department store, cathedral, artistic calling, romantic ideal, and existential mirage. Wilder once described the play as “a mixture of Horatio Alger and Franz Kafka,” and the description proves hilariously apt: John’s yearning possesses the earnestness of American self-invention while the bureaucratic evasions surrounding the store carry the absurd, unknowable menace of a dream. [more]

Constance: A Confession

May 20, 2026

Resized 500 Nathaniel Sullivan and Sydney E. Anderson in Constance 17 (Silin Chen)

The evening’s pleasures derive less from narrative surprise than from tonal dexterity. Sindelar knows exactly how ridiculous this world is, but resists the temptation to become smug about it. The libretto and score gleefully catalogue the linguistic debris of internet spirituality—“divine feminine,” trauma jargon, gut-health evangelism, pseudo-mystical affirmations—yet the satire lands because it is rooted in recognizable human hunger. These characters are not fools so much as spiritually malnourished people searching for coherence in a culture that increasingly offers branding in place of meaning. [more]

The Receptionist

May 19, 2026

The Second Stage revival of Adam Bock’s "The Receptionist" first seen at Manhattan Theatre Club in 2007 appears to be more timely than ever. That may explain why is seems to shock less than it should as we have been come inured to reports of atrocities all over the world. Sarah Benson’s new production is so low-key that is possible to miss the point. But that may be the point: the banality of evil is not possible if we don’t look away when unpleasant things arise. [more]

Vanessa (Heartbeat Opera)

May 18, 2026

Resized 500 Inna Dukach as Vanessa and Freddie Balantine's shadow (Russ Rowland)

Inna Dukach as Vanessa and the shadow of Freddie Ballentine as Anatol in a scene from Heartbeat [more]

Broken Snow

May 16, 2026

Ben Andron’s "Broken Snow" has an interesting premise: two half-brothers who never knew of the others existence meet in an abandoned house which was their father’s last known address. The father has recently died and both men want some answers to his mysterious life. In flashbacks, we meet Kris, that father, played by television star Tony Danza. Unfortunately, much of the mystery remains at the end of the play, with too much repetitious dialogue before we get where the play is going. If this had been played as an outright thriller, it might have generated some real tension. Under Colin Hanlon’s leisurely direction, the play takes too long to build up any steam. Don’t blame the three actors who have to deal with underwritten roles with too much left to our imaginations. [more]

REX REED: A REMEMBRANCE

May 16, 2026

Rex Reed with KT Sullivan, Joyce Breach and Jeff Harnar

I'm sorry to note the passing of Rex Reed. He was 87. And it's startling for me to write that he was 87, because to me he was always the handsome, dashing young man about town whom I first met decades ago. (That's why I'm posting a couple of publicity photos of him when he was younger, as well as one from more recent years, along with a snapshot of Rex, taken a few years ago, with several cabaret stars he liked very much: KT Sullivan, Joyce Breach, and Jeff Harnar.) I liked Rex. Oh, he could be quite acerbic in reviews, if he didn't like a film or a concert, or a cabaret show. And he cultivated a public image of being a curmudgeon. But if he liked you--and we always got along great--he was a pussycat. [more]

Canciones

May 14, 2026

Inside, "Canciones" unfolds less like a play than like an actual family gathering one has somehow wandered into midway through the evening. The house hums with side conversations, overlapping instructions, beer coolers on the patio, guitars in the basement, cousins teasing one another from room to room. Guests are separated organically into shifting clusters and ushered through the home not with theatrical rigidity but with the casual hospitality of relatives making space at a crowded party. Downstairs, primo Ricky, played with irresistible warmth and improvisatory ease by Sammy Rivas, and sister-in-law Jenn, wife to brother Tommy who has a history of not making an appearance at family gatherings, played by the welcoming EJ Zimmerman, invite audience members into a basement jam session lined with wood paneling, family photographs, storage bins, and the cluttered archaeology of real domestic life. He hands out instruments from a basket on the floor, riffs on guitars, jokes about getting high with cousins, and casually points to photographs of the family’s prized mariachi heirloom hanging nearby. Jenn joins on fiddle. The realism is so granular, so socially exact, that one stops observing and simply begins participating. [more]

ON THE TOWN WITH CHIP DEFFAA AT “THE PEOPLE VERSUS LENNY BRUCE”

May 14, 2026

Joseph Anthony as Lenny Bruce in Susan Charlotte's "The People Versus Lenny Bruce" (Photo credit: Russ Rowland)

The production I witnessed felt unwieldy, unfocused, and under-rehearsed—more like a workshop of a work-in-progress than something wise producers would want reviewers to see. And that’s a pity, because there were some very good actors on that stage, and some moments—but not enough moments--that really worked as theater. With proper pruning, reshaping, and rewriting, “The People Versus Lenny Bruce” could be really interesting. I hope they’ll do the needed work. But the play has a long way to go. [more]

Come and Knock Down My Door

May 14, 2026

The directing, from Philip Cruise (Fat Cat Killers, The Sex Writer), is adequate. Cruise also plays Clark, the father of Pablo’s girlfriend Samantha – who is played by Callie Fabac (Alexandria, The Sex Writer). Cruise’ directing rarely takes any big risks, but the blocking and set placement do a fine job of communicating how cramped the apartment setting is meant to feel. The (uncredited) window setpiece and the lighting cues (lighting designer Olivia Martin) skillfully create a lot of paranoia. James’ sense of panic and loss of control is well represented through the production, with him literally having no control over who enters and leaves the apartment for much of the play. The directing is competent – dutifully carrying out the vision of a deeply muddled script. [more]

Beaches

May 13, 2026

Much of the snappy dialogue in Dart and the late Thom Thomas’ script comes from the previous sources but somehow fails to land as intended. Possibly under the co-direction of Lonny Price and Matt Cowart, the delivery isn’t as fast. Dart’s lyrics are both prosaic and generic telling us what we already know. They do not seem to have inspired the legendary composer Mike Stoller (of Leiber & Stoller fame) as his songs either sound very similar or as if you have heard them before. Strangely, where the best songs should go to singer Cee Cee Bloom in her diegetic cabaret acts, Bertie has the best two with “The Brand New Me” and “My Best” (i.e. friend.) As you might have expected, “Wind Beneath My Wings,” the sensational Grammy Award winning number from the movie is sung by Cee Cee at the end of the show, but only shows how lacking the new songs are. [more]

73 Seconds

May 11, 2026

The title refers to the catastrophic 73 seconds between the Challenger’s launch and explosion, and Mezzocchi turns those seconds into the play’s governing existential paradox. Had Rosemary not become pregnant, might she have boarded that shuttle instead? The playwright comes to see himself simultaneously as the force that prevented his mother’s cosmic aspirations and the accidental reason she survived. Few memoir plays confront the absurd intimacy between guilt and gratitude with such honesty. The production recognizes how families construct themselves around contingencies so enormous they become nearly impossible to contemplate directly. Mezzocchi’s very existence becomes entangled with one of the most traumatic public tragedies of the 20th century. [more]

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