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New York
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Off-Broadway Review: INVASIVE SPECIES (The Vineyard’s Dimson Theatre)
A NEW SPECIES OF ACTRESS Maia Novi’s Invasive Species is a topsy-turvy meta play that reflects its plot: a moment in the life of a confused young woman infected with the acting bug. Or so it seems at the beginning; very soon we discover that the core of the piece is dedicated to mental illness, a delicate…
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Off-Broadway Review: JULIA MASLI: HA HA HA HA HA HA HA (SoHo Playhouse)
JOY JOY JOY JOY JOY JOY JOY Julia Masli’s show Ha Ha Ha Ha Ha Ha Ha has finally arrived at the SoHo Playhouse after a successful run last year at the Edinburgh Festival Fringe and it is a riot. Masli is an award-winning clown from Estonia, now based in London; when I went, the house…
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Off-Broadway Review: A GROUNDBREAKING ACHIEVEMENT OF OUTRAGEOUS IMPORTANCE THAT PEOPLE SCROLL BY, BARELY IMPACTED (Outta Bounds Productions at Theaterlab)
A GROUNDBREAKING ACHIEVEMENT INDEED The short take on this play is that Jake Shore — as they say at the website The Rumpus — WRITES LIKE A MOTHERFUCKER. He is new to me, but he’s not an unknown quantity. At least one critic has compared his previous work to Beckett. In my case, both Harold…
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Opera Review: AN AMERICAN SOLDIER (PAC/NYC)
THE STORY’S THE THING IN UPDATED VERSION OF THE OPERA AN AMERICAN SOLDIER This is a heartbreaking story impossible to forget. Although suicide is the second leading cause of death in the U.S. military (unintentional injuries being the first) some people still consider bullying completely normal, a rite of passage that will make the victims…
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New York Cabaret Review: NOW AND THEN: THE STORIES (Sally Mayes at Green Room 42)
MAYES YOU LIVE IN INTERESTING TIMES Cabaret great and Tony-nominee Sally Mayes has been presenting a series of career retrospective concerts at the intimate Green Room 42 on the 4th floor of Yotel near Times Square. Each performance of this series is a one off, and those fortunate enough to catch Now And Then: The…
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Off-Broadway Review: SCARLETT DREAMS (Midnight Theatricals at Greenwich House Theater)
SCARLETT FEVER Kevin (Andrew Keenan-Bolger) used to be a hunk, and a successful playwright with an off-Broadway hit. But lately, he’s become a couch potato, much to the chagrin of his husband, Milo (Borris Anthony York), who owns and operates a successful health club. But there is an exciting solution for Kevin’s doldrums. Milo and…
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Theater: DOWNTOWN URBAN ARTS FESTIVAL (22nd Season; June 12–29 at Theatre Row and Joe’s Pub)
DOWNTOWN URBAN ARTS FESTIVAL ANNOUNCES 22nd SEASON OF PRESENTING NEW WORKS BY EMERGING PLAYWRIGHTS JUNE 12 – JUNE 29 AT THEATRE ROW (DUAFnyc) Savion Glover – Photo Courtesy: Savion Glover Productions The DOWNTOWN URBAN ARTS FESTIVAL (DUAF) announced its 22nd Anniversary season, featuring new works by Tony Award Winner Savion Glover and Tony Award Nominee Reg E….
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Off-Broadway Review: ALL OF ME (The New Group)
All of Me is a rom-com in which the central couple are wheelchair users and unable to speak; they use text-to-speech technology. The New Group‘s production, which opened last night at Pershing Square Signature Center, is directed with loving care by Ashley Brooke Monroe. Rarely do we see actors perform under such restrictive circumstances. How…
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Off-Broadway Review: OCTOBER 7 (Actors Temple Theatre)
EYEWITNESS ACCOUNTS OF OCTOBER 7 BECOME A SHATTERING THEATRICAL EVENT After the October 7 Hamas attack on Israel, the husband-and-wife team of journalists Phelim McAleer, playwright, and Ann McElhinney, producer, were concerned to notice that “good people were forgetting about what had happened in Israel that day.” They have an impressive resume of covering difficult…
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Off-Broadway Review: JUST ANOTHER DAY (starring Dan Lauria and Patty McCormack at Theater 555)
ALL IN A GOLDEN AFTERNOON Dan Lauria‘s gentle two-hander, which opened today at Theater 555, is a sly variation on Samuel Beckett’s Waiting for Godot. Two characters, named simply “man” and “woman,” find themselves at a metaphorical crossroads, alone, with nothing but a bench and a streetlamp to set the scene. For the Off-Broadway premiere,…
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Off-Broadway Review: JIMMY TINGLE: HUMOR AND HOPE FOR HUMANITY (SoHo Playhouse)
OH, THE HUMANITY! Remember the 80s? Reaganomics here, Thatcherism abroad, apartheid, the tragedy of AIDS that ended up killing more than 700,000 people in the US alone, materialism, consumerism and lots of new music I still hear everywhere I go. The world premiere of Jimmy Tingle: Humor and Hope for Humanity, which opened tonight at…
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Off-Broadway Review: THE ACTORS (Theatre Row)
REMEMBER, THERE ARE NO SMALL PARTS, ONLY HILARIOUS ACTORS Ronnie Larsen, a prolific stalwart of Queer theatre, Off-Broadway and around the country, has made what clearly qualifies as a triumphant return to New York with The Actors, a hilariously funny play performed with comic grace by a fine company from South Florida, Plays of Wilton…
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Cabaret Review: VINCE GIORDANO AND THE NIGHTHAWKS (Birdland Jazz Theatre)
GIGGLE JUICE If you love big-band jazz and swing music played by masters, or if you are a tourist and you wish to truly feel the beat of New York’s roots, you must go to Birdland Jazz Club‘s downstairs theater and catch Vince Giordano’s concert, currently playing Mondays at 5:30 and 8:30pm. Named after saxophonist Charlie “Yardbird”…
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Off-Broadway Review: MODERN WITCHES and BRAIN HEMINGWAY (Players Theatre)
Two five-star Edinburgh Festival Fringe shows are now at the Players Theatre and you don’t want to miss them. Modern Witches is a solo show written and performed by Katie Kopajtic – a queer writer and actor whose work spans theatre, film and digital publication – where witchcraft meets the great Virginia Woolf. Kopajtic plays a lesbian…
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Opera Review: Madama Butterfly (Metropolitan Opera)
GRIGORIAN ENCHANTS Lithuanian soprano Asmik Grigorian, a soprano whose international career began with a startling Cio-Cio-San in Stockholm, makes her Metropolitan Opera debut in the same role in Madama Butterfly for performances through May 11, 2024 (she began on April 26). She sang the role a few years ago in Anthony Minghella’s ravishingly beautiful interpretation…
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Off-Off-Broadway Review: THE FRYBREAD QUEEN (American Indian Artists Inc. and Theatre for the New City)
TASTY BUT FLAT FRYBREAD Carolyn Dunn‘s new play The Frybread Queen features three generations of Navajo women gathered at the reservation home of the family matriarch for the funeral of Paul Burns. Authoritative Dawn Jamieson is the matriarch and the deceased’s mother, Jessie Burns. Ria Nez is Jessie’s equally strong-minded daughter and Paul’s sister Carlisle…
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Dance Recommendation: NAVY BLUE (Oona Doherty, The Joyce)
BELFAST-BASED RISING STAR MAKES JOYCE DEBUT WITH NAVY BLUE JUNE 4 – 9, 2024 Oona Doherty (photo Luca Truffarelli) The Joyce is hosting one of the most promising and vital voices in contemporary choreography, Oona Doherty, who makes her Joyce debut with the New York premiere of the evening-length work Navy Blue. This urgent appeal…
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Opera Review: CARMEN (Metropolitan Opera House)
MOVING TO AMERICA’S HEARTLAND, CARRIE CARCKNELL FINDS THE HEART OF CARMEN Carmen is one of the most popular operas worldwide and has been part of the Metropolitan Opera’s repertoire since its first season in 1884. 102 years later, I first experienced the Met Opera as a grad student when I attended the opening night of…
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Dance Review: MESSAGE IN A BOTTLE (North American Tour at New York City Center)
A SHOW THAT SENDS OUT AN S.O.S. Director-choreographer  Kate Prince, founder of London-based hip hop dance troupe  ZooNation, created a story about survival, hope, and love. Inspired by  Sting’s hits,  Message in a Bottle premiered on London’s West End in February 2020 and revived a year later before being interrupted by COVID. Produced by Sadler’s Wells  and  Universal Music UK, it…
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Broadway Review: UNCLE VANYA (Lincoln Center Theater at the Vivian Beaumont)
YOU’LL SAY UNCLE Anton Chekhov’s 1897 Uncle Vanya is a comic tragedy and one of the hardest plays to stage because the main actors have a significant change of identity throughout the story, and the director has to make the transition into the dramatic part smooth and credible. In Heidi Schreck‘s version at Lincoln Center, the plot remains linear…



















