Sunday, April 12, 2026
Di Zou as Pearl and Rebecca De Mornay as Evelyn in a scene from John Patrick Shanley’s “The Pushover” at the Chain Theater (Photo credit: Dan Wright Photography) Encountering a John Pa…
SOURCE: www.theaterscene.net at 06:28PMIn Luke Murphy’s astonishing "Scorched Earth," a vitality is rendered with a ferocity that feels at once ancient and bracingly new. Murphy, working under the banner of his multidisciplinar…
SOURCE: www.theaterscene.net at 10:52AMWednesday, April 8, 2026
For all its incremental gestures toward inclusivity, "Saturday Night Live"—now improbably in its 51st season—has remained curiously bereft of a regular South Asian cast member, a lacuna …
SOURCE: www.theaterscene.net at 03:26PMTuesday, April 7, 2026
The narrative architecture of "Vanya"—its languors, its longings—is assumed, even beside the point. In its essence, this distilled adaptation unfolds less as a conventional staging than …
SOURCE: www.theaterscene.net at 02:27PMThere is, in "The Last Audition," something almost defiantly modest—a chamber piece of sorrow that refuses the grandiloquence of tragedy even as it circles one. The play, a solo vehicle of…
SOURCE: www.theaterscene.net at 12:29AMMonday, March 30, 2026
Hayes proves wholly persuasive, gliding among a gallery of supporting figures (Hayes delineates 11 distinct characters with astonishing lucidity, his transitions so fluid they seem almost in…
SOURCE: www.theaterscene.net at 02:14PMYet the production proves curiously reluctant to pursue the implications of its own provocations. The philosophers, rather than evolving into distinct and dynamically opposed sensibilities, …
SOURCE: www.theaterscene.net at 12:33PMThursday, March 26, 2026
New American Ensemble may be young, but this production announces a company of rare precision and ambition. Every element—the mulch underfoot, the bar at your shoulder, the dead tree overh…
SOURCE: www.theaterscene.net at 11:57PMTuesday, March 24, 2026
Anthony Rapp in Kenny Finkle’s “Touch” at The East Village Basement (Photo credit: Table 7 Strategies/Kevin Kulp) In Touch, a work of disarming modesty and unnerving emotional precisio…
SOURCE: www.theaterscene.net at 11:54PMMonday, March 23, 2026
In the hands of Michael John LaChiusa (music, lyrics and book) and George C. Wolfe (book), the feral, syncopated verse of Joseph Moncure March’s Prohibition-era poem is not so much adapted…
SOURCE: www.theaterscene.net at 09:23PMFriday, March 20, 2026
In "Entangled:12 Scenes in a Circle K off the I-40 in New Mexico," the beguiling and philosophically mischievous collaboration between Mona Mansour and Emily Zemba, the American desert becom…
SOURCE: www.theaterscene.net at 10:42PMSaturday, March 14, 2026
What begins as a satirical clash between corporate swagger and academic idealism gradually deepens into a more unsettling inquiry. The play’s true subject, it turns out, is not merely the …
SOURCE: www.theaterscene.net at 10:18PMTuesday, March 10, 2026
If the show’s point of view occasionally feels one-sided, that imbalance ultimately serves its chief purpose: entertainment. 'Body Count' may not function as a comprehensive treatise on co…
SOURCE: www.theaterscene.net at 05:22PMSunday, March 1, 2026
Slater’s performance is a revelation of synthesis. Known for his buoyant athleticism in Broadway’s "SpongeBob SquarePants" and his chilling portrayal of the Balladeer and Lee Harvey Oswa…
SOURCE: www.theaterscene.net at 11:53PMSaturday, February 28, 2026
Actors Kerry Ipema and Natalie Rich, joined by the live Foley artist Kelly Robinson, proceed to conjure Spielberg’s dinosaur epic. They marshal an arsenal of materials so defiantly homespu…
SOURCE: www.theaterscene.net at 10:55PMThursday, February 26, 2026
In Lauren Yee’s exuberant and stealthily devastating new comedy, "Mother Russia," history arrives not with a bang but with an order of fast food. Two young men, perched at the lip of a new…
SOURCE: www.theaterscene.net at 11:27PMSunday, February 22, 2026
The premise—a radio broadcast—might seem theatrically inert, yet Rau ingeniously implicates the audience by issuing each spectator a set of headphones. We are not merely watching propaga…
SOURCE: www.theaterscene.net at 02:24PMFriday, February 20, 2026
To enter the performance space of Paul Pinto’s "MANO A MANO" is to find oneself seated not before a proscenium, but around a giant Arthurian round table, a scenic choice that immediately d…
SOURCE: www.theaterscene.net at 06:49PMSunday, February 15, 2026
Chang is an agile performer, and his quick shifts among characters recall the early solo work of urban shapeshifters who built entire neighborhoods out of voice and posture. Yet here the gal…
SOURCE: www.theaterscene.net at 01:11PMSaturday, February 14, 2026
The opening gesture of Dante Alighieri’s "Inferno"—that immortal confession of midlife disorientation in which a wanderer finds himself astray from the “straight road” and deposited …
SOURCE: www.theaterscene.net at 06:13PMWednesday, February 11, 2026
The afterlife has always enjoyed a sturdy tenancy on the musical stage, but "High Spirits"—Hugh Martin and Timothy Gray’s tuneful graft onto Noël Coward’s "Blithe Spirit"—has, until…
SOURCE: www.theaterscene.net at 10:05AMTuesday, February 10, 2026
For Heartbeat Opera’s presentation of Massenet’s exquisite "Manon," the co-adaptors Rory Pelsue, who also directs, and Jacob Ashworth, the company’s artistic director, take a scalpel t…
SOURCE: www.theaterscene.net at 11:50PMMonday, February 2, 2026
By loosening the moorings that usually tether one actor to one role, director and adaptor Karin Coonrod peers, with unusual intimacy, into Lear’s psychic weather. The choice to distribute …
SOURCE: www.theaterscene.net at 11:58PMFriday, January 30, 2026
Anne Gridley begins "Watch Me Walk" by taking its title at punishingly literal face value. She introduces herself, grips her walking stick—never a cane, a semantic correction that quickly …
SOURCE: www.theaterscene.net at 10:51AMThursday, January 15, 2026
The choreography by Toran X. Moore is exquisitely attuned to both context and cast. Moore’s steps and motifs create a full canvas of movement that breathes with the beat and bends to the d…
SOURCE: www.theaterscene.net at 04:24PMTuesday, January 13, 2026
Sarah Kirkland Snider’s first opera arrives with a confidence that feels almost paradoxical: it is at once tightly focused and lavishly expansive, a work that fixes its gaze on a single hi…
SOURCE: www.theaterscene.net at 12:23PMFriday, December 19, 2025
What "If We Kiss" captures, with rare delicacy, is the way young people experience such convergences as both comic and catastrophic. The play treats adolescent feeling with respect, refusing…
SOURCE: www.theaterscene.net at 03:32PMWednesday, December 17, 2025
Greenberg’s greatest achievement is his refusal to inflate or apologize for the material. He treats "The Baker’s Wife" as what it is: a musical of sensibility rather than momentum, conce…
SOURCE: www.theaterscene.net at 04:30PMSaturday, December 13, 2025
In "BUM BUM (or, this farce has Autism)," EPIC Players—New York’s indefatigable standard-bearer for neuroinclusive performance—unfurls a world premiere that feels less like a conventio…
SOURCE: www.theaterscene.net at 12:41PMFriday, 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 freque…
SOURCE: www.theaterscene.net at 06:28PMTuesday, December 2, 2025
Iraisa Ann Reilly in her one-woman show “A Bodega Princess Remembers La Fiesta de los Reyes Magos, 1998” at Ensemble Studio Theatre (Photo credit: Valerie Terranova) If you venture into …
SOURCE: www.theaterscene.net at 04:09PM 
