Sunday, 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 04:09PMMonday, December 1, 2025
In its final form, the piece stands as both elegy and proclamation: a testament to a heritage reclaimed, and to the fierce, necessary act of making contact—full, unguarded, and profoundly …
SOURCE: www.theaterscene.net at 09:38PMSunday, November 23, 2025
By the time the play reaches its understated yet piercing climax, the question is no longer whether ChiChi and Theodore are “right” for one another—though that question lingers—but r…
SOURCE: www.theaterscene.net at 01:29PMFriday, November 14, 2025
If the Muppets are deployed as window dressing, the illusions themselves are a museum of inherited gestures. Lake presents the familiar canon of contemporary stage magic: the bifurcated assi…
SOURCE: www.theaterscene.net at 11:54PMThursday, 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 an…
SOURCE: www.theaterscene.net at 03:08PMWednesday, November 5, 2025
'The Wasp" is not for the faint of heart. It confronts the audience with themes of mental illness, domestic violence, and sexual trauma, yet resists the easy descent into nihilism. For all i…
SOURCE: www.theaterscene.net at 12:44PMSaturday, November 1, 2025
At the center of it all stands Apple, whose performance is nothing short of revelatory. As Catherine, she is brittle yet unbowed; as Hannah, she radiates vitality and purpose. Her voice—bo…
SOURCE: www.theaterscene.net at 12:12AMThursday, October 30, 2025
To have emerged from a childhood like Zoë Kim’s—with enough self-awareness, critical distance, and sheer emotional stamina to craft a piece of theater with even a hint of uplift—is in…
SOURCE: www.theaterscene.net at 12:50PMSunday, October 26, 2025
In "Heaux Church," writer-performer Brandon Kyle Goodman does not so much deliver a sermon as they detonate one—turning the pious pulpit upside down and shaking loose its centuries of sham…
SOURCE: www.theaterscene.net at 12:54AMThursday, October 23, 2025
Under Carsen Joenk’s clean, clever direction, Scotti’s writing finds a delicate equilibrium — biting, funny, and deeply humane. The quartet of women are precisely dressed by designer I…
SOURCE: www.theaterscene.net at 11:56PMAri’el Stachel in his one-man show “Other” at Greenwich House Theatre (Photo credit: Ogata Photography) In his solo show Other, now unfolding with searing intensity at the intimate Gre…
SOURCE: www.theaterscene.net at 01:03PMMonday, October 20, 2025
To describe "Oratorio" is to flirt with the inadequacy of language. It is a musical work—a sung-through piece in the formal lineage of the oratorio, that 17th-century form that eschews sta…
SOURCE: www.theaterscene.net at 06:02PMWednesday, October 15, 2025
Jen Tullock in the one-woman play “Nothing Can Take You from the Hand of God” at Playwrights Horizons (Photo credit: Maria Baranova) In Nothing Can Take You from the Hand of God, the mes…
SOURCE: www.theaterscene.net at 11:32PMTuesday, October 14, 2025
"Italian American Reconciliation" may not be peak Shanley, but in the capable hands of this cast and creative team, it becomes something rare: a flawed but full-hearted theatrical reverie, e…
SOURCE: www.theaterscene.net at 12:20PM 
