The best arts & culture in NYC: Critics' picks

Broadway review by Adam Feldman  [Note: Jinkx Monsoon plays the role of Mary Todd Lincoln through September 30, joined by new cast members Kumail Nanjiani, Michael Urie and Jenn Harris. Jane Krakowski assumes the central role on October 14.] Cole Escola’s Oh, Mary! is not just funny: It is dizzyingly, breathtakingly funny, the kind of funny that ambushes your body into uncontained laughter. Stage comedies have become an endangered species in recent decades, and when they do pop up they tend to be the kind of funny that evokes smirks, chuckles or wry smiles of recognition. Not so here: I can’t remember the last time I saw a play that made me laugh, helplessly and loudly, as much as Oh, Mary! did—and my reaction was shared by the rest of the audience, which burst into applause at the end of every scene. Fasten your seatbelts: This 80-minute show is a fast and wild joy ride. Escola has earned a cult reputation as a sly comedic genius in their dazzling solo performances (Help! I’m Stuck!) and on TV shows like At Home with Amy Sedaris, Difficult People and Search Party. But Oh, Mary!, their first full-length play, may surprise even longtime fans. In this hilariously anachronistic historical burlesque, Escola plays—who else?—Mary Todd Lincoln, in the weeks leading up to her husband’s assassination. Boozy, vicious and miserable, the unstable and outrageously contrary Mary is oblivious to the Civil War and hell-bent on achieving stardom as—what else?—a cabaret singer.      Oh,...

Theater review by Raven Snook If you feel stressed and overworked, the members of the Australian performance collective Pony Cam can relate. Burnout Paradise is their way of transforming the Sisyphean hamster wheel of modern life into exhilarating entertainment. As an onstage clock ticks down, four athletic actors—some of them noticeably injured—attempt to complete a series of tasks while running on treadmills. Their assignments range from the everyday (shaving, waxing, shampooing) to the much more ambitious (performing Shakespeare, filling out a grant application, cooking a three-course meal). Straining to do it all, they depend on audience volunteers to help out by retrieving stray tomatoes, playing bingo, shooting hoops, even dancing at an impromptu rave. Burnout Paradise | Photograph: Courtesy Austin Ruffer On paper, Burnout Paradise may seem like a show that, as though on a treadmill itself, is fated to go nowhere. But in practice, it is both an amusing indictment of our soul-crushing go-go-go ethos and a gleeful conjuring of community. Those who choose to take part in the challenges seem to have a blast; even just watching, you find yourself surprisingly invested in the ever-mounting chaos. Organized into four 12-minute rounds, the show has the electric suspense of a sporting event: Will the performers complete their assignments and beat their record mileage before the buzzer sounds? If they don't, you can ask for a full refund, though it’s hard to imagine you’ll...

Broadway review by Adam Feldman  Mark Rosenblatt’s Giant hits the current historical moment like a targeted strike. The play unfolds on a single afternoon, interrupted only by intermission, at the English country home of Roald Dahl. It is the summer of 1983, and the beloved children’s author has come under fire for his review of a book about Israel’s siege of West Beirut, in which Dahl opined of the Jews that “never before has a race of people generated so much sympathy around the world and then, in the space of a lifetime, succeeded in turning that sympathy into hatred and revulsion.” Rosenblatt began writing his play in 2018, five years before the October 7 attacks that would prompt both a wave of Israeli military action and a spike in anti-Zionism that has often blurred with—or overtly embraced—antisemitism. Giant couldn’t be timelier: It arrives on Broadway in the same month as a new Israeli ground invasion of Lebanon.  The play’s topicality is only partially anesthetized by the historical distance that separates us from its story. Back at the Dahl house, the creator of Charlie and the Chocolate Factory and James and the Giant Peach—played superbly by master thespian John Lithgow—is examining the proofs of his latest project, The Witches, as those in his orbit try to convince him to apologize for his comments about the Jews or at least walk them back a bit. These include his flinty but gracious fiancée, Liccy (Rachael Stirling), and his accommodating British publisher,...

Broadway review by Adam Feldman  Oliver (Darren Criss) is a Helperbot, and he can’t help himself. A shut-in at his residence for retired androids in a near-future Korea, he functions in a chipper loop of programmatic behavior; every day, he brushes his teeth and eyes, tends to his plant and listens to the retro jazz favored by his former owner, James (Marcus Choi), who he is confident will someday arrive to take him back. More than a decade goes by before his solitary routine is disrupted by Claire (Helen J Shen), a fellow Helperbot from across the hall, who is looking to literally connect and recharge. Will these two droids somehow make a Seoul connection? Can they feel their hearts beep? That is the premise of Will Aronson and Hue Park’s new musical Maybe Happy Ending, and it’s a risky one. The notion of robots discovering love—in a world where nothing lasts forever, including their own obsolescent technologies—could easily fall into preciousness or tweedom. Instead, it is utterly enchanting. As staged by Michael Arden (Parade), Maybe Happy Ending is an adorable and bittersweet exploration of what it is to be human, cleverly channeled through characters who are only just learning what that entails. Maybe Happy Ending | Photograph: Courtesy Evan Zimmerman In a Broadway landscape dominated by loud adaptations of pre-existing IP, Maybe Happy Ending stands out for both its intimacy and its originality. Arden and his actors approach the material with a delicate touch; they...

Theater review by Adam Feldman  [Related: An in-depth discussion of Masquerade wth director Diane Paulus on Time Out's theater podcast, Sitting Ovations.] Ever since the Andrew Lloyd Webber musical The Phantom of the Opera hung up its mask in 2023, after a record 35-year run on Broadway, the show’s ardent admirers (there are packs of them) have been wishing it were somehow here again. And now it is—with an emphasis on somehow. The revisal of Phantom now playing Off Broadway as Masquerade has been significantly altered to fit a very different form: an immersive experience, à la Sleep No More, in which audiences are led en masque through multiple locations in a midtown complex designed to evoke the 19th-century Paris Opera House where soprano Christine Daaé is tutored and stalked by the facially misshapen serial killer who lives in the basement. The very notion of this reimagining—created by Lloyd Webber and director Diane Paulus, from a concept by Randy Weiner—is surprising; perhaps even more surprising is that, somehow, they pull it off.  Masquerade | Photograph: Courtesy Oscar Ouk The complexity of the enterprise is staggering. Six groups of 60 spectators at a time enter the building at 15-minute intervals; each group gets its own Phantom and Christine, but the other actors repeat their roles multiple times a night. The spectators are guided by the stern ballet mistress Madame Giry through a multitude of discrete playing spaces on floors throughout the complex,...

Theater review by Adam Feldman  The titular heroine of Petite Rouge dances with wolves aplenty in Company XIV’s latest neoburlesque spectacle, but don’t worry for her safety: She’s as voracious a predator as any of them. Director-choreographer Austin McCormick and his Brooklyn company have a penchant for twisting classic children’s stories into naughty ones for adults, fashioning baroque extravaganzas out of such tales as the Nutcracker, Cinderella, Snow White and Alice in Wonderland. This latest pageant gives a decadent spin to the adventures of Little Red Riding Hood through a decadent mélange of slinky dance, explosive live singing and suggestive circus acts. This little lady knows her way around a basket. Petite Rouge | Photograph: Courtesy Deneka Peniston Like all Company XIV shows, Petite Rouge unfolds as a series of vignettes performed by a troupe of versatile performers in outrageous costumes by Zane Pihlström, who has also designed the louche, ruched set in a panhistorically rococo spirit. The aesthetic is femme-forward and playfully queer-flavored; the men may have lupine masks on their heads, but they are also often dolled out in corsets and heels (and, in one case, tasseled pasties on each buttock). Among the attractions provided by the men are a triple aerial act, a toe dance and a comical turn by PhillVonAwesome, in mask, as Petite Rouge’s grandma.  Related: See more photos from Petite Rouge. Petite Rouge | Photograph: Courtesy Deneka Peniston But...

Broadway review by Adam Feldman [Related: An in-depth discussion of Ragtime with director Lear deBessonet on Time Out's theater podcast, Sitting Ovations.] A little-known fact about the anarchist firebrand Emma Goldman is that she dabbled in theater criticism. In a series of 1914 lectures, collected in book form as The Social Significance of Modern Drama, she assessed such writers as Ibsen, Strindberg, Chekhov and Shaw through the lens of their revolutionary potential. Modern drama, she opined, “mirrors every phase of life and embraces every strata of society, showing each and all caught in the throes of the tremendous changes going on, and forced either to become part of the process or be left behind.” That is a good description, as it happens, of the 1998 musical Ragtime, which is being revived on Broadway by Lincoln Center Theater in a first-class production directed by Lear deBessonet and anchored by the superb actor-singer Joshua Henry. The show is a vast panorama of American life in the turbulent early years of the 20th century, as illustrated by the intersecting stories of three fictional families—those of a moneyed white businessman, a Jewish immigrant and a successful Black pianist—as well as a clutch of real-life figures from the period, including Goldman herself. It is hard to know what she would make of this grand musical pageant. Perhaps she would admire the production’s epic sweep, stirring score and excellent cast; perhaps she might shudder at the lavish...

Review by Adam Feldman  The low-key dazzling Speakeasy Magick has been nestled in the atmospheric McKittrick Hotel for more than a year, and now it has moved up to the Lodge: a small wood-framed room at Gallow Green, which functions as a rooftop bar in the summer. The show’s dark and noisy new digs suit it well. Hosted by Todd Robbins (Play Dead), who specializes in mild carnival-sideshow shocks, Speakeasy Magick is a moveable feast of legerdemain; audience members, seated at seven tables, are visited by a series of performers in turn. Robbins describes this as “magic speed dating.” One might also think of it as tricking: an illusion of intimacy, a satisfying climax, and off they go into the night. The evening is punctuated with brief performances on a makeshift stage. When I attended, the hearty Matthew Holtzclaw kicked things off with sleight of hand involving cigarettes and booze; later, the delicate-featured Alex Boyce pulled doves from thin air. But it’s the highly skilled close-up magic that really leaves you gasping with wonder. Holtzclaw’s table act comes to fruition with a highly effective variation on the classic cups-and-balls routine; the elegant, Singapore-born Prakash and the dauntingly tattooed Mark Calabrese—a razor of a card sharp—both find clever ways to integrate cell phones into their acts. Each performer has a tight 10-minute act, and most of them are excellent, but that’s the nice thing about the way the show is structured: If one of them happens to...

This thrilling reconception of Andrew Lloyd Webber and T.S. Eliot's musical not only rescues Cats from the oversize junkyard but lifts it to unexpected heights. Directors Zhailon Levingston and Bill Rauch embrace the musical’s inherent strangeness by absorbing it into queerness: The show’s secret ball for cats is now a ballroom runway competition of the kind recently visited by TV’s Pose and Legendary. This concept—let’s call it Paris Is Purring—is ideal for the musical’s revue-like structure, and the show’s wispy plot is clearer than it has ever been; the fur truly flies. After an already-legendary run at PAC in 2024, the production moves to Broadway with most of its original cats, including André De Shields, Chasity Moore, Sydney James Harcourt, Dudney Joseph Jr., Robert “Silk” Mason, Emma Sofia and ballroom elder Junior LaBeija. Newcomers to the ensemble include vogue mistress and Legendary judge Leiomy. Click here for the full review.

The Elizabethan equivalent of a slasher film, Titus Andronicus is the Bard's goriest horror show, in which cycles of violence and revenge leave no body part unhacked: The title character serves his enemy a pie that is stuffed with the flesh of her sons, and that's just the tip of the viceberg. Broadway's favorite baddie, the deeply sonorous Patrick Page (Hadestown), stars in a production directed by Jesse Berger for his often bloody-minded classical company, Red Bull Theater. The company also includes McKinley Belcher III, Francesca Faridany and Enid Graham. Click here for the full review.

Hamilton: Theater review by David Cote What is left to say? After Founding Father Alexander Hamilton’s prodigious quill scratched out 12 volumes of nation-building fiscal and military policy; after Lin-Manuel Miranda turned that titanic achievement (via Ron Chernow’s 2004 biography) into the greatest American musical in decades; after every critic in town (including me) praised the Public Theater world premiere to high heaven; and after seeing this language-drunk, rhyme-crazy dynamo a second time, I can only marvel: We've used up all the damn words. Wait, here are three stragglers, straight from the heart: I love Hamilton. I love it like I love New York, or Broadway when it gets it right. And this is so right. A sublime conjunction of radio-ready hip-hop (as well as R&B, Britpop and trad showstoppers), under-dramatized American history and Miranda’s uniquely personal focus as a first-generation Puerto Rican and inexhaustible wordsmith, Hamilton hits multilevel culture buttons, hard. No wonder the show was anointed a sensation before even opening. Assuming you don’t know the basics, ­Hamilton is a (mostly) rapped-through biomusical about an orphan immigrant from the Caribbean who came to New York, served as secretary to General Washington, fought against the redcoats, authored most of the Federalist Papers defending the Constitution, founded the Treasury and the New York Post and even made time for an extramarital affair that he damage-controlled in a scandal-stanching...

One salutary recent trend has been the Broadway premieres of major 21st century plays that had previously only been seen Off Broadway. The latest is Gina Gionfriddo's blind-date-gone-wrong comedy, a finalist for the 2009 Pulitzer that was initially mounted in New York by Second Stage and that is returning in a larger venue under the aegis of the same company. The cast of five, directed by Trip Cullman (Significant Other), includes Madeline Brewer, Lauren Patten, Alden Ehrenreich, Patrick Ball and stage marvel Linda Emond. Read the full review here.

If theater is your religion and the Broadway musical your sect, you've been woefully faith-challenged of late. Venturesome, boundary-pushing works such as Spring Awakening, Bloody Bloody Andrew Jackson and Next to Normal closed too soon. American Idiot was shamefully ignored at the Tonys and will be gone in three weeks. Meanwhile, that airborne infection Spider-Man: Turn Off the Dark dominates headlines and rakes in millions, without even opening. Celebrities and corporate brands sell poor material, innovation gets shown the door, and crap floats to the top. It's enough to turn you heretic, to sing along with The Book of Mormon's Ugandan villagers: "Fuck you God in the ass, mouth and cunt-a, fuck you in the eye." Such deeply penetrating lyrics offer a smidgen of the manifold scato-theological joys to be had at this viciously hilarious treat crafted by Trey Parker and Matt Stone, of South Park fame, and composer-lyricist Robert Lopez, who cowrote Avenue Q. As you laugh your head off at perky Latter-day Saints tap-dancing while fiercely repressing gay tendencies deep in the African bush, you will be transported back ten years, when The Producers and Urinetown resurrected American musical comedy, imbuing time-tested conventions with metatheatrical irreverence and a healthy dose of bad-taste humor. Brimming with cheerful obscenity, sharp satire and catchy tunes, The Book of Mormon is a sick mystic revelation, the most exuberantly entertaining Broadway musical in years. The...

Theater review by Raven Snook Lick it up, baby: The high-school-is-hell musical Heathers is back to take another shot at being popular. In case you are unfamiliar with either the 1989 movie or its 2014 musical adaptation, the story centers on not-so-mean girl Veronica Sawyer (played here by & Juliet's Lorna Courtney), who's doing her best to survive the indignities of 1980s adolescence in Ohio. In a bid for social stature, she falls into the orbit of three beautiful bullies, all of whom are named Heather. But when Veronica meets J.D. (Casey Likes)—a mysterious rebel in a trench coat and mullet—she starts dreaming of freeing Westerburg High School from the Heathers’ well-manicured talons. What she doesn’t know, at least at first, is that J.D. is not just a bad boy, but a truly bad seed. Like the film, which developed a fervid Gen X cult following, Heathers The Musical needed time to catch on. Although its initial Off Broadway run at New World Stages lasted only a few months, it has since become a hit in the U.K., where it has had multiple West End productions; and thanks to a decade of cast recordings and TikToks, it has spawned legions of Gen Z fans, dubbed Corn Nuts after one character's dying words. The musical has even managed to win over some cynical fans of the darker-hued film, including me, who didn’t like it at first pass; I've come to appreciate its lighter, pop earworm–driven take. (Veronica and J.D.'s teenage angst still has a body count, but when the victims...

Broadway review by Adam Feldman  Buena Vista Social Club offers an irresistible tropical vacation. A celebration of Cuban musical history, it’s a getaway and a gateway: To attend this show—which premiered last season at the Atlantic Theatre, and has now moved to Broadway—is to enter a world thick with history that you’ll want to learn more about afterward, if you don’t know it already. While you’re there, though, you don’t need to think too hard. Just give yourself over to the sounds that pour out from the stage.  The 1997 album Buena Vista Social Club gathered an extraordinary group of elderly musicians to recreate the atmosphere and the traditional musical styles—son, boleros, guajiras—of a racially inclusive Havana nightspot before the Cuban Revolution. It became a worldwide sensation upon its release, and was the subject of a 1999 documentary film by Wim Wenders. Marco Ramirez’s stage version has a less factual bent. “Some of what follows is true,” says the bandleader Juan de Marcos (Justin Cunningham), who was instrumental in assembling the album’s participants. “Some of it only feels true.”  Buena Vista Social Club | Photograph: Courtesy Matthew Murphy The musical focuses on four of the album’s principal performers: vocalists Omara Portuondo (a regal Natalie Venetia Belcon) and Ibrahim Ferrer (Mel Semé), guitarist-singer Compay Segundo (Julio Monge) and pianist Rubén González (Jainardo Batista Sterling). Scenes from the album’s 1996 recording process alternate with...