Areas We Cover
Categories
New York
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Broadway Review: LITTLE BEAR RIDGE ROAD (Booth)
WHERE LONELINESS ECHOES AND CONSTELLATIONS ARE CALLING She gets up at dawn and is asleep by eight. She lives alone and doesn’t like people. Nobody at the hospital (where she’s worked for forty years) likes her. She watches TV and complains non-stop. In short, she’s thoroughly disagreeable. But what can you do if she’s your…
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Off-Broadway Review: RICHARD II (Red Bull Theater at Astor Place Theater)
GLAMOUR BEFORE THE FALL A pansexual Richard II struts through power, pleasure, and ruin in the 1980s In its current staging at the Astor Place Theatre, Red Bull Theater serves up a Richard II for 2025 with lots of flash and style (some over substance). Director Craig Baldwin, who also adapted Shakespeare’s history play, leans…
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Off-Broadway Review: ARCHDUKE (Roundabout Theatre Company at Laura Pels)
THE SANDWICHES THAT COULD HAVE CHANGED THE WORLD A wickedly funny revision of history delights even as it faces catastrophe All they ever wanted was a sandwich… That’s the revised motivation for the young Bosnian conspirators who plotted to assassinate Archduke Franz Ferdinand, heir to the Austro-Hungarian throne, in 1914. It’s posited by playwright Rajiv…
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Off-Broadway Review: KYOTO (Royal Shakespeare Company at Lincoln Center’s Mitzi E. Newhouse Theater)
“It will never be forgiven.” With those chilling words, delivered just days ago, the UN climate chief branded our reckless indulgence in fossil-fueled destruction as a transgression so grave it stains the conscience of humankind, and he is not being dramatic! From Stratford-upon-Avon to London’s West End, and now at the Mitzi E. Newhouse Theater…
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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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Off-Broadway Review: MESSY WHITE GAYS (The Duke)
THE ONLY THING STRAIGHT IN THIS ROOM IS THE LINE TO THE CREDENZA Messy White Gays—which opened November 2 at Off-Broadway’s Duke on 42nd Street—is a contemporary drawing-room comedy, a modern spin on the comedy of manners, built on witty exchanges, social commentary, and the absurdities of its characters. Classic models include Oscar Wilde’s The…
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Opera Review: HILDEGARD (World Premiere, LA Opera and Beth Morrison Projects at The Wallis)
BEST BE ON YOUR HILDEGARD WATCHING THIS THING When approaching a work based on history, it’s expected that there will be some degree of fictionalization. Even though it won’t be completely true, the broad strokes will be, and you’ll leave having learned a tiny bit of something new. However, Hildegard, the dull new opera by…
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Off-Broadway Review: THE BURNING CAULDRON OF FIERY FIRE (Vineyard Theatre and The Civilians)
A SPELLBINDING CAULDRON BOILS OVER, SUMMONING THEATER’S WILD GODS Suffice it to say, there’s nothing else in New York quite like Anne Washburn’s new play The Burning Cauldron of Fiery Fire, now at the Vineyard Theatre in collaboration with The Civilians. For anyone bored by the constraints of realism and naturalism—and instead drawn to theater…
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Off-Broadway Review: 44 – THE MUSICAL (Daryl Roth)
A LOVE LETTER TO THE OBAMAS THAT BRINGS THE WHITE HOUSE DOWN The biggest surprise of the season for me has been 44 – The Musical, which opened last night at the Daryl Roth Theatre. Billed as a satirical look at the rise and presidency of Barack Obama—and the eccentric characters he met along the…
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Off-Broadway Review: REUNIONS (New York City Center)
NOSTALGIA IN THE SPOTLIGHT, MODERNITY IN THE WINGS At a time when most new musicals chase novelty, Reunions looks lovingly backward. Conceived as a pair of one-act chamber pieces performed back-to-back without intermission, the evening runs about an hour and forty minutes and draws its stories from early-20th-century plays. Both feel distinctly old-fashioned (but, in…
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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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Dance Review: PAUL TAYLOR DANCE COMPANY (2025 Lincoln Center Residency Opening Night)
TAYLOR MADE During his 64-year career, Paul Taylor helped lead, define, and shape American modern dance. Out of his 147 works, the Paul Taylor Dance Company opened its three-week Lincoln Center season last night with one of his final creations, Concertiana, which premiered in 2018—the year of his passing. Paul Taylor’s Concertiana Eleven dancers, clad…
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Off-Broadway Review: BAT BOY: THE MUSICAL (Encores! at New York City Center)
THIS BAT COMES OUT SWINGING Back in the nineties when tabloids ruled the world, there was one especially erroneous publication: Weekly World News. Presenting stories so outrageously false yet purported to be true, this particular rag was always good for a laugh. One such story that flew from their front page into a bemused pop…
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Dance Review: AN EVENING WITH JOHAN INGER (Gibney Company Up Close at New York Live Arts)
RUNNING IN PLACE AMONG THE STARS: A TRANSFIXING EVENING OF JOHAN INGER “I hate dance reviews,” my friend says to me during intermission. There are vertical trails on her cheeks, wet where her tears made slalom paths moments ago. “What could you say that would describe what we just saw?” I agree with her. I…
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Broadway Review: LIBERATION (James Earl Jones Theatre)
A TIME WARP TO THE 1970s WOMEN’S MOVEMENT, REFRACTED THROUGH 2025 EYES STILL SQUINTING TOWARDS EQUALITY “Why does it feel somehow like it’s all slipping away? And how do we get it back?” Susannah Flood That’s one of the questions posed about the condition of gender equality in 2025 America at the start of Liberation,…
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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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Dance Review: GRAVITY (Ballet Preljocaj, The Joyce)
Angelin Preljocaj has carved out a daring niche in the dance world, fusing classical ballet with contemporary flair to invent a unique, bold alphabet of movements. Now, the US premiere of Ballet Preljocaj’s Gravity is at The Joyce Theater, and it is an amazing experience, a meditation on the invisible force that binds us all….


















