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Music Review: NELLIE McKAY (City Vineyard)
ECCENTRIC CHARM, SWEET AND STRANGE Enjoying an eclectic, engaging evening with Nellie McKay Light-hearted but with some heavier thoughts,Out-and-out outgoing on the outside,Sometimes intense on the inside,Engaging all the way through With a playful twinkle in her eye and her trademark sunny sound, savvy singer Nellie McKay fills a room with charm in her eclectic…
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Off-Broadway Review: BROKEN SNOW (Theatre 71)
A PUZZLE WORTH SOLVING A slow-burn puzzle that rewards patience with emotional clarity In the middle of nowhere, in an abandoned house, Broken Snow begins with a promise. Kris (Tony Danza) steps forward and tells us he has a story—“one of utmost significance,” he insists, “a moment where everything changes.” It’s a bold promise, not…
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Theater Review: BEAU JEST (North Coast Rep)
A NICE JEWISH BOY— OR IS HE? Plenty of laughs and genuine feeling power this crowd-pleasing production Sarah Goldman is a young Jewish Chicago teacher in the late 1900s. Her boyfriend is a lawyer named Chris Cringle and they are thinking about getting married. But there is a problem. Chris is not Jewish and Sarah’s…
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Theater Review: FLOWER DRUM SONG (East West Players & JACCC at the Aratani Theatre)
A NEW BEAT ON AN OLD DRUM A vibrant revival powered by talent, spectacle, and cultural pride Crazy Talented Asian Americans! “To create something new, we must first love what is old.”– Mei-Ling from Flower Drum Song I fell in love with East West Players and JACCC’s co-production revival of Rodgers & Hammerstein’s Flower Drum…
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Theater Review: THE SECRET SHARER (DNAWorks at Emerson Paramount Center)
TOO MANY HANDS ON DECK An inventive but overstuffed adaptation floods the narrative The world premiere of DNAWorks‘ adaptation of Joseph Conrad’s “The Secret Sharer,” directed by Daniel Banks at Emerson Paramount Center offers a lot of intriguing approaches to this classic tale of two men who strongly resemble one another. Regarded as a novella…
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ST. AUGUSTINE MUSEUMS: Why Medieval Torture Museum Belongs at the Top of Your List
St. Augustine, Florida, occupies a unique position in the American cultural landscape. As the oldest continuously occupied European-established settlement in the continental United States, it carries more than five centuries of layered history — Spanish colonial architecture, Native American heritage, British occupation, and the complex narratives of settlement, conflict, and transformation that define the American…
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Broadway Review: THE BALUSTERS (Manhattan Theatre Club at the Samuel J. Friedman Theatre)
STOP SIGNS AND SOCIAL SIGNALS Sharp, humane, and richly acted, this new comedy lands with both wit and weight In The Balusters, playwright David Lindsay-Abaire once again proves himself a master of tonal tightrope walking—balancing biting social critique with deep wells of empathy, all wrapped in the polished veneer of a parlor room comedy. Set…
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Theater Review: COCKROACHES (World Premiere at Revolution Stage Company, Palm Springs)
THIS SHOW BUGS ME A Southern Gothic that hints at something deeper but never quite gets there For all its promise, Cockroaches, the 2024 Del Shores Foundation Best Play winner by Emma Schillage, leaves you grasping for clarity—and, at times, patience. Set in a decaying Southern home, the play centers on three sisters—Charlie (Leilani Baldwin),…
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Concert Review: THE SOLDIER’S TALE (Boston Symphony Chamber Players, Symphony Hall)
FIDDLER, DEVIL, AND A DEAL GONE WRONG Beautifully realized, with narration and music in sync—The Soldier’s Tale is devilishly surprising, if a bit abrupt at the finish Igor Stravinsky composed L’Histoire du Soldat (The Soldier’s Tale) in the waning days of World War I, when resources were scarce. Working with a Swiss writer named C….
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Broadway Review: JOE TURNER’S COME AND GONE (Barrymore Theatre)
FINDING YOUR SONG Debbie Allen’s revival honors Wilson’s depth with a richly realized production The Barrymore Theatre’s revival of August Wilson’s Joe Turner’s Come and Gone, directed by the very talented Debbie Allen, is an exquisitely crafted classic production brought to life by a thoughtfully assembled cast and creative team. Set in 1911, the story…
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Comedy Preview: UNITARD – “UNI-VERSARY: 25 YEARS OF UNITARD” (Joe’s Pub, NYC)
STILL RUDE AFTER ALL THESE YEARS The cult comedy trio celebrates 25 years of saying what you’re thinking—and shouldn’t If you like your comedy sharp, shameless, and just a little dangerous, Unitard is back to celebrate a quarter-century of gleeful bad behavior. The long-running trio—Mike Albo, Nora Burns, and David Ilku—returns to Joe’s Pub on…
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Music Preview: SANTA MONICA INTERNATIONAL JAZZ FESTIVAL (Various Venues, Santa Monica)
COASTAL COOL, GLOBAL GROOVE A new festival turns Santa Monica into L.A.’s jazz epicenter L.A. jazz lovers are already buzzing about the inaugural Santa Monica International Jazz Festival, a nine-day, citywide event running May 1–9 that aims to turn the beachside enclave into a bona fide jazz destination. Anchored by major headliners, centennial tributes, and…
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Theater Review: BOTH (Teatro Vista Productions at Steppenwolf’s 1700 Theater, Chicago)
TRAUMA, TRUTH, AND THE STORIES WE SELL A taut psychological thriller that cuts deep and lingers “Look at this place. Just how rich did our trauma make you?” Of all the devastating zingers hurled about the posh living room of Xochi’s lake house in Both, the brilliant new play by Paloma Nozicka, that’s the one…
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Theater Review: ERNEST SHACKLETON LOVES ME (Coachella Valley Repertory, Cathedral City)
ICE, LOVE, AND LOOP PEDALS A technically dazzling two-hander that charms with ingenuity Coachella Valley Repertory closes its season with the inventive two-hander Ernest Shackleton Loves Me, a production that reflects the company’s recent pivot toward more musical offerings; it’s a shift that’s paying off. On the surface, the show—with a book by Joe DiPietro—seems…
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Theater Commentary: THE PRICE OF NOT PERFORMING EMPATHY
CRITICISM VS CONFESSION When analysis starts to look like refusal Editor’s note: Jesse Green was reassigned from his role as chief theatre critic at The New York Times in 2025 and now serves as a culture correspondent, continuing to write about theatre alongside broader arts coverage. This commentary reflects on the larger critical and cultural…
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Theater Review: FENCES (The Old Globe, San Diego)
FENCED IN AND LASHING OUT A powerful touring revival of August Wilson’s enduring drama The Old Globe Theatre is presenting August Wilson’s 1987 drama Fences, part of his cycle of plays about African American life in the industrial United States during the 20th century. Each play explores Black life in a different decade, in an…
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Theater Review: TEEN BEAT LIVE | 80s MOVIE MIXTAPE (CineVita, Inglewood)
I LOVE THE NIGHTLIFE A high-energy 80s mixtape that actually leaves you wanting more For The Record has built a reputation on remixing cinematic nostalgia into immersive, high-octane theatrical events—but with Teen Beat Live | 80s Movie Mixtape, they may have finally cracked the code. Easily one of the most successful entries in their long…
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Exhibition Review: JAWS: THE EXHIBITION (Academy Museum of Motion Pictures, Los Angeles)
YOU’RE GONNA NEED A BIGGER GALLERY A blockbuster exhibition that proves the Academy Museum can crate an exhibition with bite There are museum shows you admire—and then there are ones you feel. Jaws: The Exhibition is the latter. With just three months left before it closes on July 26, the Academy Museum has mounted one…
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Opera Review: DIE KLUGE (THE WISE WOMAN) (Independent Opera Company, Los Angeles)
A GEM FINDS ITS VOICE A charming, rarely staged Orff opera gets a smart, scrappy revival Did you know that composer Carl Orff wrote more than Carmina Burana? It’s true. While most audiences know “O Fortuna” and its bombastic spectacle, Orff also composed lighter fare such as Die Kluge, a fairy-tale opera that Independent Opera…
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Music Review: SOPHIA WOLZ – “FUSION” (Single from Debut Album ABOUT LIFE)
A QUIET FUSION THAT BURNS SLOW A breakthrough in restraint, mood, and control “Fusion” begins with a piano line so bare it feels like a held breath. The song immediately sets a mood of quiet deliberation. Nothing here hurries. Nothing here fills the space just to fill it. Sophia Wolz lets silence do the structuring,…
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