Musicals

The Faggots and Their Friends Between Revolutions

December 12, 2025

In the cavernous expanse of the Park Avenue Armory, where spectacle often arrives inflated to mythic proportions, "The Faggots and Their Friends Between Revolutions" materializes as a frequently mad, occasionally mystical, and resolutely LGBTQIA+ fantasia. Adapted from Larry Mitchell and Ned Asta’s 1977 queer fable-book—part manifesto, part utopian parable—this incarnation, shaped by composer Philip Venables and director Ted Huffman (who first unveiled it to British audiences in 2023), announces itself with a great deal of theatrical flourish. For all its conjurations and incantatory ambition, it is ultimately a work whose whimsy gleefully shines on the backs of this diamond’s many facets. [more]

Sweet Smell of Success

November 30, 2025

The film version starring Burt Lancaster as sleazy yet powerful gossip columnist J.J. Hunsecker (similar to the notorious Walter Winchell) and Tony Curtis as hungry press agent protégé Sidney Falco was not a success as the ugly underbelly of tabloid journalism was not what filmgoers wanted from some of their favorite box office stars in 1957. Some of the same problems apparently recurred when nice guy John Lithgow took on the role in the stage musical in 2002. The reedited version by Guare and Carnelia (which is closer to what they originally intended) remains faithful to the original plot but gives a more humanizing backstory and a more palatable ending. They have also restored the original opening (“Rumor”) and a duet for Hunsecker’s sister Susan and her boyfriend Dallas (“That’s How I Say Goodbye”), cut on the road. [more]

The Seat of Our Pants

November 26, 2025

Michael Lepore as the Telegram Boy, Micaela Diamond as Sabina, Ruthie Ann Miles as Mrs. Antrobus, [more]

Chess

November 23, 2025

Strong’s book belies his name, its overlong (two hours, 40 minute) narrative, with all its scheming realpolitik, being more formulaic than authentic. Its points about the individual vs. the state, personal ambition vs. national loyalty, truth vs. propaganda, the pressures of celebrity, and so on, are clear, but Chess is too addicted to larger-than-life histrionics to make us more than cerebrally grateful or deeply invested in the choices the characters must face. [more]

Two Strangers (Carry a Cake Across New York)

November 22, 2025

With its big, if economical, imagination, "Two Strangers (Carry a Cake Across New York)" also seemingly contains a metropolis of non-digital humanity, thanks, in particular, to Tony Gayle's robust and amusingly familiar sound design ("stand clear of the closing doors, please"). But Robin and Dougal are the only people ever actually present onstage, which is enough. As they repeatedly scale the twin mounds of literal baggage on Soutra Gilmour's circular treadmill of a set--rotating away from and towards each other--the metaphoric intent is obvious. Still, it's the promptly endearing Pitts and Tutty who must translate that visual meaning into a palpable bond, so that the audience cares deeply when it is eventually threatened by both past and future complications. [more]

44 – The Musical

November 19, 2025

"Saturday Night Live" has made political satire look easy and has a lot to answer for. "44 – The Musical" written, composed and directed by Eli Bauman, who worked on the Obama campaign in Las Vegas in 2008, has created this slight parody of the 44th president’s first term. While the show is slickly produced, the writing is lazy using vulgar language – the f-word is sprinkled generously throughout the dialogue and repeated in its songs whose names are not spelled out in the program – and the satire only takes on the most clichéd items. As none of the talented cast looks or sounds like the real people they are playing, we need to keep reminding ourselves who they are. [more]

Romy & Michele: The Musical

November 18, 2025

Schiff’s book so slavishly follows her screenplay without adding new material that there is nothing much to wait for. The lyrics by Sanford and Jay alternate between not scanning and extremely simple rhymes. None of the songs tell us anything we don’t already know. With one or two exceptions, Hanggi has directed her cast to be as much like the movie as possible, leading to pale imitations of more robust characterizations. Jason Sherwood’s unit set is augmented by Caite Hevner’s projection design, neither of which creates much atmosphere. Tina McCartney’s costumes seem to be clones of those used in the movie. Much of the look of the period is created by Tommy Kurzman’s hair, wig and make-up design. [more]

The Queen of Versailles

November 17, 2025

Reunited with Chenoweth for the first time since "Wicked," Schwartz once again benefits tremendously from a genuine member of Broadway royalty who, roughly two decades ago, as the original Glinda, turned a bunch of prosaic songs into popular ones (critic takes ostentatious bow). While the score for "The Queen of Versailles" will not survive in our collective memory (please, no!), Chenoweth, as always, gives it her considerable best, particularly when showing off her coloratura soprano to Marie Antoinette (Cassondra James). That would be worth a severely reduced price of admission, if not for the frustrating inconsistencies of Schwartz's lyrics and Lindsey Ferrentino's book, which eventually turn unconscionable. [more]

Reunions

November 11, 2025

"Reunions" is a charming new Edwardian musical made up of two classic one- act plays: James M. Barrie’s 1910 “The Twelve-Pound Look” and the Quintero Brothers’ 1901 “A Sunny Morning.” Using an ensemble of six main actors who rotate roles, these two one-act musicals have the same theme: former lovers meet years later by an accident that changes their lives. However, the Barrie play deals with a middle-aged couple in a London mansion while the Quintero play brings together two septuagenarians in a Madrid park. Beautifully directed by Gabriel Barre, this is an elegant evening worthy of its Edwardian ancestry. [more]

Bat Boy: The Musical

November 6, 2025

Beneath the camp and chaos, 'Bat Boy" remains what it always was: a parable with a pulse. O’Keefe’s rock-opera score jabs with wit but bleeds sincerity; his lyrics cut deep with irony and compassion. The story still howls against hypocrisy—the intolerance of difference, the fear of the Other, the absurd theatre of morality that masquerades as virtue. "Bat Boy" feels less like a musical and more like a communal exorcism of repression, guilt, and joy. In the capable, chaotic hands of this remarkable company, it doesn’t just sing—it soars, claws, and howls. To want to belong has rarely felt this thrilling. What emerges, through all the shrieks and laughter, is something profoundly moving: a hymn to belonging, a love letter to strangeness, a primal scream for empathy. [more]

Vape! The Grease Parody

November 4, 2025

Billy Recce and Danny Salles' lyrics are the secret engine of "Vape!"—clever, campy, and unexpectedly pointed. They skewers performative purity, influencer culture, and the desperate nostalgia of Gen Z’s retro revival, all while composing hooks catchy enough to survive outside satire. Under Jack Plotnick’s razor-sharp direction, "Vape!" turns vintage pink into neon green, and proves that a good parody doesn’t mock its source—it reinvents it. [more]

Nothing Like Broadway!

October 12, 2025

"Nothing Like Broadway!" combines modern sensibilities with some old-fashioned influences into a unique and charming show. The narrative follows Milo, played by Tyler Tanner ("The Lightning Thief: The Percy Jackson Musical" national tour, "Shakespeare in Love"), who works the lights at a theater but dreams of singing on stage. That classic narrative of the unconfident protagonist looking to prove himself ends up crashing into a Cold-War-style spy thriller when Bixby, a debonair British spy played by Marek Zurowski ("West Side Story," "The Phantom of the Opera" world tour), has to hide out at the theater. Things spiral into delightful absurdity from there, culminating in a 20-minute continuous 11 o’clock number, which manages to be a total blast throughout. The show takes several big swings of this nature. Though not all of them pan out as well as that one, Rosie Corr’s ("Harmony," "Waitress") stellar choreography, David Rackoff’s ("I Am Bad," "The Chase Lounge") clever lyrics/book/music, and the pair’s co-directing decisions make "Nothing Like Broadway!" an infectiously fun show. [more]

Mexodus

October 2, 2025

Actors and musicians Brian Quijada and Nygel D. Robinson have written a dynamic, exciting new two-character hip-hop musical in "Mexodus," a telling of the little known story of the Underground Railroad that went South to Mexico. It may also be the first New York musical to use live-looping for its soundtrack, with both musicians playing multiple instruments as well. "Mexodus" not only tells the tale of a Texas slave who escapes to Mexico but also the stories of both of its performers. The current relevance of the show to our immigration situation cannot be underestimated. [more]

This Is Not a Drill

September 27, 2025

You may recall that on January 13, 2018, Hawaii residents including tourists received an alert that a ballistic missile had been spotted on the way to the islands. You may also recall that it was later reported as a drill only for security workers, and that the alert was over after 38 minutes. Songwriter Holly Doubet remembers that day as she was visiting the islands and has not forgotten the minutes pondering her impending death. This is the premise of The York Theatre’s new musical 'This Is a Not a Drill," conceived by Doubet with book by Joseph McDonough and Doubet, and a 15 song score by Doubet, Kathy Babylon and John Vester. A pleasant enough entertainment, there is no urgency except for the hysterical characters at the Hibiscus Resort and Hotel who take the alert seriously. We know, of course, that it was false, so the authors have made their plot out of "Love Boat," "Hotel" or "White Lotus" multiple storylines with each couple having their own crisis. Unfortunately, the characters and their problems are all clichés and stereotypes which all end happily, Hawaii being a place for solving one’s problems. It might have been more exciting dramatically if some of these plots had not had happy endings. [more]

The Porch on Windy Hill

September 19, 2025

There's a palpably tragic tension between Edgar and Mira, which the play's quartet of writers--Sherry Stregack Lutken, Lisa Helmi Johanson, Morgan Morse, and David M. Lutken--naturally let develop, trusting the actors (and, in Lutken's case, himself) to convey it in fraught silences. But "The Porch on Windy Hill" is no joyless drama; it also includes lots of glorious, soul-stirring sound, which buffers the characters' pain through a heady musical mélange that links everyone on the stage, even when they seem worlds apart. A classical violinist, Mira's talent originated from the long-ago example of her grandfather's expert banjo and guitar pickin', while her beautiful singing voice, similar to Edgar's, is much more candid than her speaking one. No mellifluous slouch himself, Beckett joins Mira and Edgar in a series of stringed reveries that run the gamut from Haydn to bluegrass and, as music often does, take up the emotional slack when regular words don't come easily. [more]

Sober Songs

September 12, 2025

Still, for a piece that purports to tackle the complexity of addiction, "Sober Songs" often fails to excavate its deepest layers. Relapses, romantic entanglements, suicidal ideation, and earnest confessions flit across the stage, but many are handled with a frustrating brevity, giving the sense that we are skimming the surface of lives meant to be far more turbulent than the book or score allows them to be. [more]

Exorcistic: The Rock Musical

September 9, 2025

This self-aware parody depicts a show within a show, where the cast breaks the fourth wall, comes out and greets the audience, and tells us they’re about to put this thing on. With tongues so firmly planted in cheeks, they’d probably bite right through them, they regale us with reservations and caveats galore. There’s a possessed young girl, Megan (Emma Hunton), her movie-star mom, Kate (Leigh Wulff), a coupla priests (Ethan Crystal and Jesse Merlin), a glittery demonic “Rowdy” (Steven Cutts), and a woeful stage manager (Jaime Lyn Beatty). Playwright/composer/lyricist Michael Shaw Fisher exercises his acting chops in a couple of roles. You’d think enough mayhem would be in store for the cast as it embarks on this ramshackle enterprise, but all (ahem) hell breaks loose when an actor actually becomes possessed. [more]

Oil & Whiskey

September 7, 2025

"Oil & Whiskey" is a new musical that won the "Sold Out Award" at the 2025 NYC Fringe Festival. The music by Kit Nolan, principal keyboardist and musical director for award-winning violinist Lindsey Stirling, is uniformly excellent, filled with great melodies and foot-stomping country delights. It compares well to the sadly closed "Dead Outlaw." The book and lyrics by Dax Wiley are not quite on the same level but sometimes reach the highs of the music. [more]

Alan Turing & The Queen of the Night

August 15, 2025

There’s a lot going on in this new musical about Alan Turing—and perhaps too much. In attempting to encompass the breadth of Turing’s extraordinary life, the production ends up overwhelmed by its own ambition. It is too long to sustain its narrative with somewhat underdeveloped characters, and too short to provide the necessary depth to the relationships that are meant to drive its emotional core. [more]

Rolling Thunder: A Rock Journey

August 15, 2025

Do we need another jukebox musical? In the case of "Rolling Thunder: A Rock Journey," the answer is a wavering yes. Written with more insight than usual by Bryce Hallett, with musical direction by Sonny Paladino, "Rolling Thunder" manages to find a fresh way to bring that era to life, opening with a brash burst of music (“Magic Carpet Ride” by Steppenwolf) and a period newscast of Nixon explaining why the war was expanding—contrary to growing public anti-war sentiment. The title refers to the sudden savage saturation bombing campaign against North Vietnam 60 years ago. [more]

Joy: A New True Musical

July 26, 2025

Under Lorin Latarro’s direction, there is little or no character development in Davenport’s book, with all of the characters remaining the same throughout, and the only thing that propels the show are the surprising events that happen. Joy’s family remains negative and dismissive about her inventing career (while eventually helping out in the marketing) until almost the very end. Davenport fudges the last scene by not telling us how the biased Texas judge ends up ruling in Joy’s favor so that the ending leaves us hanging. When the judge demeans Joy as a one-time inventor, we know that she has one of her clever inventions in her pocket (a reflective dog flea collar) but she never takes it out in her own defense. The songs are more like window dressing than adding much to the show and Milazzo’s generic lyrics tend to be very repetitious and give away their message in their titles. The show might have been more powerful as a straight play without the musical score. [more]

Heathers the Musical

July 18, 2025

Andy Fickman’s polished production with its highly effective choreography by Gary Lloyd (additional choreography by Stephanie Klemons) is a Broadway-style production in a smaller house. If "Heathers the Musical" seemed too cynical in 2014 when it also played at New World Stages, time or events have caught up with it and it now seems a reflection of the life we live. With Broadway stars Lorna Courtney and Casey Likes leading the high-powered cast, "Heathers the Musical" should be a hit of the summer and beyond – and not just for teens and twenty-somethings who were in full evidence at the performance under review. [more]

Wesley

July 7, 2025

Austin Phillips’s puppet design deserves special mention. His owlet creation is imbued with uncanny charm—Wesley is clearly an owl, yes, but one whose subtle articulation suggests personality rather than anthropomorphism. The puppet becomes a living character, thanks in large part to the finely tuned performance of Daniel Sanchez, making an impressive Off-Broadway debut. As Wesley, Sanchez navigates a delicate balance: he gives the owl presence, agency, even affection, without sacrificing the essential strangeness of the animal. His portrayal renders the owl’s devotion to Casey moving and believable, even as we are always aware that this is a bird, not a human in disguise. As he dances with Casey during the “Winter is Coming” sequence we are painfully aware of how little time they can expect to share together. [more]

Mozart’s Don Giovanni: A Rock Opera

July 3, 2025

Ambition, that perilous double-edged sword, can elevate a work of art to soaring heights—or leave it flailing in the rafters, reaching desperately for resonance it cannot quite grasp. Such is the case with "Mozart’s Don Giovanni: A Rock Opera," Adam B. Levowitz’s audacious and heartfelt, if uneven, adaptation of Mozart’s canonical masterpiece. This leaner, louder take on "Don Giovanni," recognizing the latent synergy between operatic grandeur and rock bravado, now playing at The Cutting Room through August 26, replaces the classical orchestra with a ten-piece rock band and pares down the original three-hour-plus opera to a taut two hours and ten minutes. If only its dramatic momentum had received the same rigorous attention as its runtime. [more]

Mike & Mindy’s Wild Weekend Jam

June 28, 2025

"Mike and Mindy’s Wild Weekend Jam," the musical returning Off Broadway in a bigger version than before, has a sophisticated score and unsophisticated book. The title is a bit of a misnomer as there is nothing “wild” about it and the “jam” part leads to unfilled expectations. However, the cast makes the most of the impressive musical portions of the show from Bucky Heard and Timothy D. Lee of the Righteous Brothers, salvaging Mark Corallo and Eileen Nelson’s book which resembles those Afterschool Specials of the past. [more]

Bear Grease

June 27, 2025

Already seen at 200 venues across North America, "Bear Grease," the all Indigenous musical, arrives in New York for a three-month residency. While its subtitle declares that it is a “reimagining of the musical Grease by Jim Jacobs and Warren Carey told through an Indigenous lens,” it is more of a variety show with songs, dances, and video while including iconc scenes and songs from "Grease" paying tribute to Native American culture. Written and created by LightningCloud (Crystle Lightning and Henry Cloud Andrade,) the exuberant cast made up of members of the Enoch Cree Nation, Beaver First Nation, Big Stone Cree Nation, Frog Lake, Muskeg Lake, Gift Lake, Mvskoke and Navajo Nation makes this an entertaining evening in the theater. [more]

Beau the Musical

June 26, 2025

"Beau The Musical" is not only absorbing as a story, the songs help to move the story along, something few musicals accomplish these days. The multi-talented cast is splendid, while the story hits on a great many hot button topics: bullying, intolerance, self-identity, single parenting, finding one’s identity. Best of all Beau The Musical is extremely satisfying, sending you out pleased by what you have seen. [more]

Passengers

June 22, 2025

Montréal’s physical theater troupe The 7 Fingers has made their third visit to New York with Passengers and the wait has been worth it. Using circus events, music, dance and monologues, "Passengers" follows nine travelers who perform as their train travels across the country. Like Cirque du Soleil, the varied acts are all unified by a theme, but The 7 Fingers is more intimate in scale and eschews clowns, giving the nine acrobats, gymnasts and circus artistes more and more daring acts to do. As the journey continues, the performances become more breathtaking and demonstrate the versatility of the cast. [more]

The Moby Dick Blues

June 14, 2025

"The Moby Dick Blues" is nothing short of a working-class opera for the Anthropocene—equal parts "Trainspotting" and "The Perfect Storm," churning with fury, addiction, and mythic ambition. In Michael Gorman’s daring reimagining, Melville’s epic is filtered through the hard truths of the contemporary opioid crisis, reframing Captain Ahab as a tragic addict and the White Whale as a haunting symbol of narcotic oblivion. The reframing lands with seismic force, compelling us to reconsider not only Melville’s obsession-driven narrative, but our own self-destructive relationships with nature, legacy, and escape. [more]

Goddess

May 31, 2025

In the title role, Amber Iman makes a sensational return to Off Broadway after her Tony Award and Drama League-nominated performance in "Lempicka" last season. This beautiful statuesque actress brings poise and elegance to the role of the goddess who comes down to earth in human form. Her magnificent singing brings the audience to its feet for her final solo. Austin Scott is a stalwart Omari both in his singing and saxophone playing which also impresses. As the excitable Rashida and Ahmed, Arica Jackson and Nick Rashad Burroughs make a terrific team playing off of each other. [more]

The Last Bimbo of the Apocalypse

May 19, 2025

And what does it all mean? The new musical takes on pop fandom, celebrity, the Internet, MTV, pop culture, influencers, Gen Z and everything in between. "The Last Bimbo of the Apocalypse" is not only cutting edge but it may presage the dawning of the next kind of musical – which may not be to all tastes. It may also take you by surprise as to how much it pulls you into to its story and investigation of a period a little less than two decades old. [more]

Seussical

May 16, 2025

A scene from the Epic Players’ production of Flaherty and Ahrens’ musical “Seussical” at [more]

Maddie: A New Musical

May 14, 2025

The show at The Players Theatre is not exactly the same show that played in London's West End with book by Shaun McKenna and Steven Dexter which like the original novel was set in San Francisco. Now the show has been reset in New York’s East Village. Unfortunately, this also means Finney’s tribute to silent film stars is entirely missing which is one of the original novel’s strong suits. Additionally, the authors do not make use of the new setting except for a scene under the Queensboro Bridge. [more]

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