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Paulanne Simmons
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Broadway Review: TITANÍQUE (St. James Theatre)
CELINE TAKES THE WHEEL An irreverent Titanic spoof that goes all in on camp and pop spectacle Titaníque, the Titanic parody which premiered in Los Angeles in 2017, opened at The Asylum Theatre in June 2022 and later transferred to the Daryl Roth Theatre, has finally docked on Broadway. And it is irreverent, energetic, and…
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Broadway Review: DOG DAY AFTERNOON (August Wilson Theatre)
HOLDING UP UNDER PRESSURE A bold stage adaptation that captures much —but not all—of the film’s tension Adapting an iconic film like Dog Day Afternoon for the stage is a challenge. There are still many people who remember Al Pacino yelling “Attica!” to the cheering crowd and his intense phone conversation with his wife. But…
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Off-Broadway Review: MARCEL ON THE TRAIN (Classic Stage Company)
SILENT RESISTANCE A wartime journey inspired by Marcel Marceau’s resistance work becomes an overlong and uneven theatrical ride Marcel Marceau was not only a mime; he was one of the most famous French performers of his time. But he was born Marcel Mangel, to a Jewish family in Strasbourg. His father was a kosher butcher…
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Off-Broadway Review: THE RESERVOIR (Atlantic Theater Company)
A RESERVOIR OF JOKES— AND NOT MUCH DEPTH An intriguing premise about addiction and fading memory gets diluted by a steady stream of punchlines If you’ve ever put a puzzle together or tried to fix a broken piece of pottery, you’re well prepared for The Reservoir, the new play by Jake Brasch making its Off-Broadway…
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Concert Review: THE DOVER QUARTET (Carnegie Hall’s Zankel Hall)
TRADITIONS IN CONVERSATION From Mendelssohn to Chickasaw works, a program unified by thoughtful playing The Dover Quartet — Joel Link, Bryan Lee, violins; Julianne Lee, viola; and Camden Shaw, cello) — is small but mighty. Originally formed at the Curtis Institute in Philadelphia in 2008, they are one of the greatest quartets you will ever…
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Off-Broadway Review: H.M.S. PINAFORE (New York Gilbert & Sullivan Players)
SAILORS, SATIRE, AND SOPRANOS New York Gilbert & Sullivan Players keep H.M.S. Pinafore proudly afloat—smart, tuneful, and gloriously old-school. Producing a Gilbert & Sullivan operetta takes courage, talent, and resources. Yet every year the New York Gilbert & Sullivan Players put on several productions, complete with a gorgeous single set, period costumes, and a live…
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Cabaret Theater Review: FINDING DOROTHY PARKER (Laurie Beechman Theatre)
WIT, WOUNDS, AND A GREAT SET OF PODIUMS A smart, lively cabaret revue that reminds us Parker was more than just a quote machine. Those of us who remember Dorothy Parker think of a sharp-witted, often biting writer and wise observer of human nature. Her one-liners, such as “Men seldom make passes at girls who…
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Cabaret Review: HARLEM HOLIDAYS (Renée Elise Goldsberry for The Classical Theatre of Harlem)
AN INTIMATE HOLIDAY CONCERT Renée Elise Goldsberry does everything joyfully right; And yes, it helps keep The Classical Theatre of Harlem thriving Founded in 1999, The Classical Theatre of Harlem produces two to three shows a year and also conducts extensive educational programs. Since Ty Jones took over as Producing Artistic Director in 2009, the…
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Concert Review: A PLACE CALLED HOME (NY Pops with Megan Hilty and Essential Voices USA)
THERE’S NO PLACE LIKE A PLACE CALLED HOME A late-season course correction that feels like a homecoming Christmastime is filled with traditions. And one of the best ones in New York City is the New York Pops Christmas Concert, when the stage is bathed in rosy light, a wreath hangs from overhead, and the hall…
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Concert Review: CHEYENNE JACKSON (Carnegie Hall Debut / National Tour Launch)
A BROADWAY BARITONE TAKES STOCK A career-spanning concert that blends ambition, gratitude, and sheer vocal muscle When Cheyenne Jackson stepped onto the stage of Carnegie Hall on December 8 and announced, “This is a dream come true in real time,” it didn’t feel like a rehearsed line. It landed as a genuine moment of arrival—one…
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Concert Review: LET’S GET AWAY FROM IT ALL (Michael Feinstein at Carnegie Hall)
NO PLACE LIKE HOME— UNLESS MICHAEL FEINSTEIN TAKES YOU THERE Let’s Get Away From It All proves the Great American Songbook is still first-class travel When Michael Feinstein opened his show Let’s Get Away From It All at Zankel Hall with the question, “Is there anybody that doesn’t want to get away?” the answer came…
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Theater / Restaurant Review: POP UP DINNER THEATER (Barlume Downstairs)
POP-UP, FLOP-DOWN: WHEN DINNER UPSTAGES THE THEATER The foundational idea of Suite 524’s Pop Up Dinner Theater at Barlume Downstairs is solid — four courses from Barlume’s excellent kitchen matched with four one-act plays created for this venue, directed by Michael Domitrovich. The first play is set in the bar, where hors d’oeuvres are served, and…
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Concert Review: SHOSHANA BEAN (Carnegie Hall)
SHOSHANA BEAN’S CARNEGIE DEBUT ROARS TO LIFE From the moment powerhouse singer Shoshana Bean sang her first song to her last goodbye, she commanded the stage and enthralled her audience at Carnegie Hall on November 3, proving that a performer with Broadway credits and recording crowns can also tilt the body of a song until…
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Off-Broadway Review: CIRQUE LE SWING (Immersive Supper Club Experience at Swing 46)
SWING ON IN! If you want to have the time of your life, you can’t do better than get a ticket for Cirque Le Swing, an immersive supper-club experience that combines a three-course dinner, jazz standards and acrobatics for an evening of sizzling entertainment. The audience arrives early for a Happy Hour at the bar….
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Concert Review: FROM STAGE TO SCREEN (The New York Pops at Carnegie Hall)
THE BRIDGE FROM THE GREAT WHITE WAY TO TINSELTOWN AND BACK AGAIN The New York Pops’ concert From Stage to Screen at Carnegie Hall promised a night of crossover magic last Friday—songs that leapt from Broadway to Hollywood and back again—and, under Steven Reineke’s spirited baton, it delivered in Technicolor. The evening’s guest artists, Hugh…
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Off-Broadway Review: HANNAH SENESH (National Yiddish Theatre Folksbiene at Theater Row)
People, especially oppressed people, need martyrs. And Jews, although now considered part of the white establishment by some, have been oppressed for centuries. They have found their martyr in Hannah Senesh. She was a Hungarian poet and playwright, one of 37 Jewish volunteers from the Palestine Mandate who were trained by the British during World…
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Theater Review: CROOKED CROSS (Mint Theatre)
THIS GRIPPING PRODUCTION IS A GEM — AND A WARNING Sally Carson began writing Crooked Cross while on vacation in Bavaria. This was in the early 1930s when Hitler was just rising to power. It’s a pity more people didn’t read her book. The novel, and later the play which she adapted from it, are…
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Cabaret Review: WASTED GIRL (Artemisia LeFay at 54 Below)
You might have thought it was the 1920s, and you were in a cabaret in Berlin. But it was really 2025 and you were in 54 Below watching Artemisia LeFay perform her new show, Wasted Girl. A rising star in the cabaret world, thanks to her two past shows, Ghosts of Weimar Past and Phantoms of the…
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Concert Review: FLAMING SEPTEMBER (Justin Vivian Bond at St. Ann & The Holy Trinity Church)
MORE FAITHFULL THAN EVER According to Justin Vivian Bond, thirty-five years ago, upon hearing Marianne Faithfull’s album Blazing Away recorded at St. Ann’s Church in Brooklyn, Viv said, “Someday I’m going to play her.” Then Arts at St. Ann’s moved to DUMBO in 2001 and became St. Ann’s Warehouse. But now, at last, as St….
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Off-Broadway Review: AMAZE (Jamie Allan at New World Stages)
Years ago, all a magician needed was a top hat and a live rabbit. Magic has come a long way. Jamie Allan’s Amaze uses props, videos, projections and cell phones to do exactly what the title of his show predicts. But Allan does much more than simply overwhelm the audience with slights of hand and…
Theater Review: EAT ME (South Coast Repertory, Costa Mesa)
by Michael Landman-Karney | April 21, 2026
in Los Angeles, Regional, TheaterOff-Broadway Review: A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (Theater 2020)
by Rob Lester | April 21, 2026
in New York, TheaterOpera Review: FALSTAFF (LA Opera, Dorothy Chandler Pavilion)
by Michael Landman-Karney | April 20, 2026
in Los Angeles, Music, TheaterTheater Review: ENGLISH (Wallis Annenberg Center, Beverly Hills)
by Ernest Kearney | April 19, 2026
in Los Angeles, Theater
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