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Paola Bellu
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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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Broadway Review: FALLEN ANGELS (Roundabout Theatre Company at Todd Haimes Theatre)
A LITTLE SIN, A LOT OF GIN A fizzy Noël Coward comedy where anticipation —and alcohol—do the heavy lifting There is a particular kind of overupholstered, well-mannered, and suffocating living room that exists primarily so that someone may eventually misbehave in it. In Fallen Angels, now at the Roundabout’s newly renovated Todd Haimes Theatre, writer…
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Dance Review: SCORCHED EARTH (St. Ann’s Warehouse, Brooklyn)
LAND, LABOR, AND THE BODY Luke Murphy’s dance-theatre work turns ownership into something visceral and urgent St. Ann’s Warehouse unveils Scorched Earth, a striking dance-theatre work from Attic Projects, written, directed, and choreographed by the singularly inventive Luke Murphy. From the team behind Volcano, a dance I reviewed three years ago and will never forget,…
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Off-Broadway Review: THE PUSHOVER (John Patrick Shanley World Premiere, Chain Theatre)
POWER, CONTROL, AND WHAT LURKS BENEATH Shanley’s psychological thriller simmers with tension, even when it overreaches John Patrick Shanley digs back into power and vulnerability in The Pushover, a world premiere now at the Chain Theatre. Directed by Kirk Gostkowski, the play feels like a ring where everyone is both throwing punches and asking for…
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Theater Review: UNCLE VANYA, SCENES FROM COUNTRY LIFE (La MaMa, NYC)
CHEKHOV, REIMAGINED IN BEAUTIFUL CHAOS Dmitry Krymov turns a classic into a surreal theatrical hallucination There are many ways to stage Anton Chekhov. You can do it the traditional way with period furniture, carpets, painted trees, or take a turn toward symbolism, expressionism, even full-on tragicomedy. But Uncle Vanya, Scenes from Country Life at La…
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Off-Broadway Review: TITUS ANDRONICUS (Red Bull Theater at Pershing Square Signature Center)
FEAST ON THIS: BLOOD, REVENGE, AND A SHOCKINGLY GOOD TIME A ferocious, darkly funny take that makes Shakespeare’s grisliest play thrillingly alive (Back) Anthony Michael Martinez, Zack Lopez Roa, Howard W. Overshown, Blair Baker, (front) Enid Graham, Anthony Michael Lopez, Matthew Amendt, Patrick Page, and Francesca Faridany The new Titus Andronicus from Red Bull Theater makes…
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Dance Review: HUBBARD STREET DANCE CHICAGO PROGRAM A (The Joyce Theater, NYC)
THREE STYLES, ONE ELECTRIFYING COMPANY A vibrant program that moves effortlessly from sensual modernism to jazzy precision to kinetic abstraction Hubbard Street Dance Chicago returns to The Joyce Theater, bringing the springtime vibes we have all been craving. I caught Program A, and I can assure you it is a full-on, can’t-take-your-eyes-off-it showcase of movement…
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Art Review: NEW HUMANS: MEMORIES OF THE FUTURE (New Museum, New York)
A MUSEUM REBUILT— AND A FUTURE REIMAGINED A sprawling, provocative exhibition where architecture and imagination collide The New Museum has long been the edgy, slightly scruffy thinker of Manhattan’s museum scene. It’s been on the Bowery since 2007, backing under-the-radar artists and new trends inside the unmistakable building by SANAA—a pile of asymmetrically stacked boxes…
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Off-Broadway Review: IVANOV (New American Ensemble at West End Theater)
CHEKHOV BEFORE THE MASTERPIECES A lean, lucid revival reveals Ivanov as an early, electric study of burnout, longing, and emotional paralysis Zachary Desmond, Paul Niebank, Casey Worthington, Maya Shoham, Maude Mitchell, Alexandra Pearl, Mike Labbadia, Ilia Volok, Mary Bacon In Anton Chekhov’s greatest hits album, Ivanov is the track you usually skip to get back…
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Off-Broadway Review: ZACK (Mint Theater Company)
EDWARDIAN ANXIETIES, COMEDIC COMFORT A rediscovered British comedy reminds us that decency—not money or status— may be the most radical virtue of all When the news of war grows terrifying, a trip back to the 1920s can be reassuring: if people got through that bloody era, we should be able to cope with ours. And…
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Cabaret & Theater Review: GREY ARIAS (The Flea)
OPERA, DRAG, AND THE POLITICS IN BETWEEN Adrienne Truscott and Le Gateau Chocolat gleefully explore identity, allyship, and the “grey areas” where ideology and performance collide Grey Arias burst onto the The Flea Theater stage like a theatrical meteor from another planet, leaving jaws dropping and eyebrows arching even among those already braced for the…
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Off-Broadway Review: BURNOUT PARADISE (Astor Place Theatre)
FULL SPEED AHEAD Pony Cam turns burnout, chaos, and cardio into delirious theater Dominic Weintraub, Claire Bird, Hugo Williams, William Strom Are you, perhaps, missing the wild energy of Blue Man Group at the Astor Place Theatre? Good news: it has been replaced with something just as unconventional. Welcome Burnout Paradise, the theatrical event that…
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Off-Broadway Review: CHINESE REPUBLICANS (Roundabout Theatre Company)
A POWER LUNCH WITH KNIVES UNDER THE TABLE Ambition, rivalry, and assimilation simmer in Alex Lin’s sharp corporate comedy There are ordinary lunches, and then there are Chinese Republicans lunches, the subject of a new play by Alex Lin, directed by Chay Yew at Roundabout Theatre Company’s Laura Pels Theatre. In it, four high-achieving Chinese-American…
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Off-Broadway Review: PETITE ROUGE (Company XIV at Théâtre XIV in Bushwick, Brooklyn)
A FAIRY TALE REBORN IN HEELS, CORSETS, AND CANDLELIGHT Little Red gets very bad — and very fabulous — in Company XIV’s Petite Rouge PhillVonAwesome In its twentieth anniversary season, Company XIV unveils Petite Rouge (from Charles Perrault’s 1697 Le Petit Chaperon Rouge) and allows the classic fable of Little Red Riding Hood to frolic…
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Off-Broadway Review: MEAT SUIT, OR THE SHITSHOW OF MOTHERHOOD (Second Stage Theater)
AFTER BIRTH Meat Suit is a carnival of motherhood that mistakes provocation for revelation Meat Suit, or the Shitshow of Motherhood, a Second Stage Theater production which opened last night at the Pershing Square Signature Center, dares its audience to linger in a clownish carnival of motherhood while serving up the glaringly obvious. Written and…
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Off-Broadway Review: THE DINOSAURS (Playwrights Horizons)
A RECOVERY GROUP WHERE LITTLE IS REVEALED AND LESS IS RESOLVED Superb performances anchor a script that withholds more than it delivers In the 1980s, film snobs treated TV like it had crashed the gala in sweatpants. In the 1990s, vinyl purists and digital nerds debated as if civilization hinged on compression. Theatre is the…
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Concert Review: ESPERANZA SPALDING (Well-Being Concert at Carnegie Hall’s Weill Music Room)
ESPERANZA SPALDING’S HOMEMADE FIELD OF LOVE A communal cleansing at Carnegie Hall Stepping out at night this winter requires real chutzpah because New York City is absolutely freezing, but you can always find small treasures that warm you through both the weather and these bleak political times. I was lucky enough to stumble upon one…
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Off-Broadway Review: ULYSSES (Elevator Repair Service at The Public Theater)
JOYCE’S ODYSSEY ON STAGE Elevator Repair Service turns the impossible into a joyous theatrical sprint Beloved, despised, or abandoned halfway through by most readers, Joyce’s Ulysses is one of those books you know or have heard of. Published after the carnage of World War I, when the world felt confusing and utterly broken, this novel…
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Opera Review: AMAHL AND THE NIGHT VISITORS (The Met and Lincoln Center Theater at Mitzi E. Newhouse)
A CHRISTMAS MIRACLE, UP CLOSE AND BREATH-BY-BREATH Opera this intimate feels less like a performance and more like a shared act of wonder This holiday season, multi-Grammy Award winner and Olivier Award–winning star Joyce DiDonato made opera feel truly intimate—an entirely new experience for me. She brought her formidable talent to a brand-new production of…
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Off-Broadway Review: TARTUFFE (New York Theatre Workshop)
MORAL ROT MASQUERADING AS VIRTUE Broderick underplays the zealot Tartuffe in Lucas Hnath’s contemporary take, but the cast keeps the comedy crackling The art of looking virtuous while being utterly fake is a talent as old as theater itself, and Molière’s Tartuffe remains the most iconic theatrical example. Having seen André De Shields’s sly, invigorating version…
Music Review: NELLIE McKAY (City Vineyard)
by Rob Lester | April 29, 2026
in Cabaret, New YorkOff-Broadway Review: BROKEN SNOW (Theatre 71)
by Gregory Fletcher | April 28, 2026
in New York, TheaterTheater Review: THE SECRET SHARER (DNAWorks at Emerson Paramount Center)
by Lynne Weiss | April 27, 2026
in Boston, TheaterBroadway Review: JOE TURNER’S COME AND GONE (Barrymore Theatre)
by Paola Bellu | April 25, 2026
in New York, Theater
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