Adam Feldman

New York theater ranges far beyond the 41 large midtown houses that we call Broadway. Many of the city's most innovative and engaging new plays and musicals can be found Off Broadway, usually in venues that seat between 100 and 499 people. These more intimate spaces present work in a wide range of styles, from new pieces by major artists at the Public Theater or Playwrights Horizons to crowd-pleasing commercial fare at New World Stages. And even the top Off Broadway shows usually cost less than the best Broadway shows (even if you score cheap tickets to them). Use our comprehensive listings—current shows are at the top, upcoming shows are farther down the page—to find reviews, prices, ticket links, curtain times and more for current and upcoming Off Broadway shows. RECOMMENDED: Off-Off Broadway shows in NYC

As usual, it will be a busy spring on Broadway, especially in April. But also as usual, many of the season's best productions will open Off Broadway, especially in February and March. The 2026 Off Broadway season provides a wide range of options. There are new works by playwrights including Wallace Shawn, Aya Ogawa and Lauren Yee, and intimate original musicals by the Bengsons, the Lazours and the venerable team of Maltby and Shire. There are revivals of classics ranging from the ancient Greek tragedy Antigone through 2014's You Got Older. And there are many happy returns: acclaimed 2025 shows—such as Cold War Choir Practice, Rheology and Burnout Paradise—that are coming back for second runs. (Not included on this list, but very much worth checking out, are the Encores! series's star-packed concert revivals of the musicals High Spirits and The Wild Party.) We've sorted through the dozens of upcoming Off Broadway shows to choose 35 that seem especially exciting. Here, in chronological order, are the Off Broadway shows we're most looking forward to seeing in the next three months.  RECOMMENDED: Complete list of current Broadway shows  

What do Daniel Radcliffe, Rose Byrne, Ayo Edebiri, Don Cheadle, John Lithgow, Nathan Lane, Luke Evans and Ebon Moss-Bachrach have in common? They're just some the many stars that will be coming to Broadway in the opening months of 2026. Seeing a broadway show can require quite a lot of planning—and sometimes a leap of faith. You can wait try to see only the very best Broadway shows by waiting until everything opens and gets reviewed, but by then it is harder to get tickets and good seats. So it's smart to keep an eye on upcoming productions—whether they're original musicals and plays or revivals of time-tested classics—and pick out some promising options in advance. Here, in order of their first performances, are all the productions that are set to begin their Broadway runs in the opening months of 2026. (Other shows may be added if they are announced.) Recommended: Current and Upcoming Off Broadway Shows

The best Broadway shows represent the pinnacle of live entertainment in New York City. Every year, millions of people flock to the Times Square district to see large-scale theater at its finest, and every season brings a crop of new productions, from glitzy musicals to provocative plays. Some Broadway shows are strictly limited runs, which others might stick around for years or even decades. Choosing among them can be dizzying. You can't see them all, and you probably shouldn't anyhow: For every Tony Award–worthy hit, there's a swing and a miss. But we have seen them all, and we're happy to help guide you to the ones we think are more deserving of your money and your time. (Cheap tickets can be hard to find.) Here are our theater critic's top choices among the shows that are currently on Broadway.   RECOMMENDED: Complete A–Z listings of all Broadway Shows in NYCRECOMMENDED: Current and upcoming Off Broadway shows

We all need magic in our lives, and New York offers an awful lot of it—and we don't just mean Harry Potter and the Cursed Child. Some of the city's best magic shows are proudly in the old presentational tradition of men in tuxedos with tricks up their sleeves; others are more like Off Broadway shows or immersive theater experiences. Performed by some of the world's top magic artists, they welcome you to suspend disbelief in a special zone where astonishing skill meets showmanship and wonder. Sure, it's all a bunch of tricks. But why not allow yourself a few illusions?

Human beings have been creating theater for millennia, and for probably just as long they have been looking for ways to pay less for seats. There are many strategies for finding cheap Broadway tickets and Off Broadway tickets, but the easiest involves discount codes, which allow you to buy in advance and choose your seats so you don't have to scramble for last-minute tickets. We here at Time Out have partnered with a number of Off Broadway productions to set up deals to cut your costs.

As the nights draw in and the chill sets through the air, there’s no denying it: spooky season has officially arrived. The pumpkins are carved, the costume’s nailed and now there’s just one thing left to summon… a Halloween playlist wicked enough to get even the undead on their feet. Sure, the classic Halloween songs still reign supreme – we’re talking ‘Thriller’, ‘Ghostbusters’ and all the usual heavy-hitters. But lately, a new wave of pop phantoms has emerged to soundtrack your October nights. From Olivia Rodrigo’s ex-boyfriend bleeding her dry, to the enchanting spellwork of Lady Gaga a.k.a Mother Monster herself, with a detour through the slick, otherworldly beats of K-Pop’s most stylish demons – Halloween playlists have, quite literally, come back to life. Our favourite Halloween playlist songs for 2025 at a glance: Most iconic Halloween track: ‘Thriller’ by Michael Jackson Best new Halloween anthem: ‘Abracadabra’ by Lady Gaga Most dramatic Halloween song: ‘There Will Be Blood’ by Kim Petras Best Halloween anthem with a K-Pop twist: ‘Your Idol’ by Saja Boys Best Halloween track to dance to: ‘Monster Mash’ by Bobby ‘Boris’ Pickett & the Crypt-Kickers RECOMMENDED: 👻 The best Halloween movies of all time 🎤 The best karaoke songs 🎵 The best songs of 2025 so far 🕺 The best albums of 2025 so far

There's more than one way to crack a nut! December in New York abounds with opportunities to see The Nutcracker ballet, which for dance fans is always among the best Christmas shows around. The most famous Nutcracker options are all returning in 2025, including New York City Ballet’s iconic Balanchine production and the the Radio City Christmas Spectacular (which includes a number devoted to the Nutcracker story). Some are aimed predominantly at kids; some others are very much not. Here are this year's ways to get your sugarplum fix. RECOMMENDED: Full guide to Christmas in NYC

Christmas shows are an essential part of the New York holiday experience. How can you make a yuletide gay without a generous array of Nutcrackers and A Christmas Carols? With that in mind, we've found the best holiday-themed theater and dance shows to help you stay in high spirits in 2025, from shows aimed at kids to a few that are definitely not. Check out our chronological list of holiday shows and find the ones that are right for you. We'll be updating and filling out this page if and when new show dates become available. RECOMMENDED: Full guide to Christmas in NYC

What a year, New York. We weathered subway delays (ugh) and subway flooding (ick). We cheered at celebrity lookalike contests, admiring the best Pedro Pascal, Adam Sandler and Stephen Colbert looks. We also cheered (and ran and sobbed) at the New York City Marathon, clapping for celebs and everyday New Yorkers alike.  We braved long lines to welcome the new Delacorte Theater with its stirring performance of Twelfth Night. We also stood in lines for faux flowers, a bougie grocery store, a photobooth museum, bagels, you name it. We rooted for the Knicks in the Conference Finals, bid farewell (for now) to the Met rooftop and went to Labubu raves.  With so many weird and wonderful moments this year, our editors took some time to reflect on it all and pick the best. We're unveiling our top picks in food, drink, theater, art, culture and more. So let's take a trip down memory lane before the New Year's Ball (it's brand new and extra sparkly this year, by the way) drops on the year that was. RECOMMENDED: Time Out New York’s 2024 Best of the City award winners

Bess Wohl's Liberation, the story of a feminist consciousness-raising group in 1970s Ohio, is very much about equality, common purpose and mutual support. "In our group, I don't think anyone should be higher than anyone else," says one character. "Hierarchy is patriarchy." So it is apropos that the play's Off Broadway premiere earlier this year was distinguished by exceptional ensemble acting. The cast was honored as a group by both the New York Drama Critics' Circle and the Drama Desk Awards—and all eight actors are now reprising their roles in Liberation's Broadway transfer, directed once again by Whitney White.   Photograph: Courtesy Joan MarcusLiberation "I find it particularly meaningful and fitting that the New York Drama Critics' Circle has chosen to recognize all of our performers equally," said Wohl at the NYDCC ceremony in May. "Nobody higher than anybody else: seamless collaboration, the art of teamwork, egoless acting. These actors each portrayed their individual characters with truth and vibrancy, yet they also drilled the rhythm of the language as one organism." Wohl's restless intelligence has previously yielded shows as diverse as the Broadway comedy Grand Horizons, the childhood-trauma exploration Make Believe, the nearly wordless Small Mouth Sounds and the porn-world musical Pretty Filthy. To help introduce audiences to the world of Liberation, we asked her to answer two questions about each of the actors: What do their performances render especially well 

Christmas Spectacular 2025 tickets will get you the full experience of Christmas in New York. This show has it all: a flying Santa, an incredibly ornate nativity scene and a new finale that uses drone technology. And don’t forget about the Rockettes in Wooden Soldier costumes and kick lines! It's one of the can't-miss NYC events in November and December, so here’s everything you need to know about snagging tickets to the most festive show of the season. (And don’t forget to take a photo under the Rockefeller Center Christmas Tree afterward.) RECOMMENDED: Full guide to the Christmas Spectacular When is the Christmas Spectacular Starring the Radio City Rockettes 2025? This year's Radio City Christmas Spectacular, officially known as The Christmas Spectacular Starring the Radio City Rockettes, runs from November 6, 2025 through January 5, 2026. The show is performed from two to five times a day, with rotating companies of performers. Where is the Christmas Spectacular Starring the Radio City Rockettes 2024? The Christmas Spectacular is at Radio City Music Hall at Rockefeller Center. Take the B, D, F or M to 47th-50th Sts–Rockefeller Center or the 1 to 50th St. How do you get Christmas Spectacular tickets? Tickets are available for purchase on the Rockettes website. You can also buy tickets directly at the box office of Radio City Music Hall, or at TicketNetwork, and via Ticketmaster. How much are Christmas Spectacular tickets in 2025? Ticket prices vary widely depending on date,

Theater review by Adam Feldman  Christmas is just around the corner, and Meek (Alana Raquel Bowers), a 10-year-old Black girl in 1987, has a modest wish list for Santa: “I want a Pound Puppy, a Speak + Spell, and a nuclear radiation detector.” None of these is likely to be provided by her financially strapped single father, Smooch (Will Cobbs), a former Black Panther who owns a roller rink in the south side of Syracuse, New York. But through her participation in a children’s choir called the Seedlings of Peace, Meek has started writing to a Soviet stranger. (“War is imminent. How are you today? Did you know the voice of a child has the power to stop a nuclear attack?”) And her pen pal in the Urals soon sends Meek a very special Speak + Spell: one that not only teaches her the Russian translations of useful terms like “revolution” and “armageddon” and “government official,” but also recruits her into a scheme that may affect upcoming disarmament talks between Ronald Reagan and Mikhail Gorbachev. Spasibo, comrade!  Cold War Choir Practice | Photograph: Courtesy Maria Baranova That’s just a taste of the mayhem wrought by the playwright and composer Ro Reddick in Cold War Choir Practice, an offbeat dark comedy that may be set in the 1980s but whose genre-fluid blend of surrealist humor, satirical songs and looming menace recalls the 1970s plays of John Guare. Reddick’s brand of ridiculous, though, adds a current of racial conflict, as reflected in the tense relationship between

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 Although most o

Theater review by Adam Feldman  When people talk about physical theater, they usually mean the kind of shows that prioritize movement over text, with elements of mime and dance. The Monsters is physical in a different way. Its two characters are mixed up in the world of mixed martial arts: Big (Okieriete Onaodowan) is a champion MMA combatant who, pushing 40, is nearing his professional expiration date; Lil (Aigner Mizzelle) is his estranged half-sister, a decade or so younger, whom he finds himself training for a career of her own. When they work out together or act out matches, the actors throw their whole bodies into action, and in the intimate confines of Manhattan Theatre Club’s Stage II, everyone gets a cageside seat. The Monsters| Photograph: Courtesy T. Charles Erickson Writer-director Ngozi Anyanwu stages these sequences with thrilling immediacy, aided by choreographer Rickey Tripp and fight director Gerry Rodriguez. (Veteran bantamweight competitor Sijara Eubanks is the production’s MMA consultant.) But Big and Lil’s sparring outside the ring is, in a quieter way, just as compelling. He is stoic and intensely guarded, but she keeps jabbing at him until she can get through his defenses. In flashbacks, they play younger versions of themselves: The adolescent Lil is spoiling for battle, but gives up high-school wrestling because boys keep trying to pin her in the wrong ways; obversely, Big is gentler than he will become, but people pick fights with him so often—he has

Theater review by Adam Feldman  Putting the word shitshow in the title of your play seems almost like a dare to the writer of an unenthusiastic review. I will resist the easy jab, though, because writer-director Aya Ogawa’s carnivalesque pageant—which explores and explodes different facets of motherhood through satirical vignettes, musical numbers and bouffon body horror—is audacious in more than its name. The show is intent on airing ugly and troubling aspects of maternity, and Ogawa delivers them cesarean style: with a few deep cuts and a lot of mess.  Meat Suit, or the shitshow of motherhood | Photograph: Courtesy Joan Marcus Meat Suit is being produced by Second Stage, and it has aptly created a secondary space for itself at the Signature Center’s Irene Diamond Stage. The venue’s usual seats are cordoned off, and the audience is guided instead to a womblike playing area that scenic designer Jian Jung has festooned with lumpy, pendulous blobs that suggest internal organs as drawn by Dr. Seuss. In a similar spirit, Jung attires the cast’s five actresses—Marina Celander, Cindy Cheung, Robyn Kerr, Maureen Sebastian and Liz Wisan, proven talents all—in bodysuits bursting with grotesque stuffed appendages that evoke internal and sexual organs. (They also recall Jill Keys’s fetus costumes in Lightning Rod Special’s The Appointment.)  Meat Suit, or the shitshow of motherhood | Photograph: Courtesy Joan Marcus Unfortunately, the show’s goop is not just of the visceral variety. A

Theater review by Adam Feldman  The talk in Clare Barron’s icky, tender, gorgeous You Got Older is sometimes so small it nearly vanishes completely. Alia Shawkat plays Mae, a youngish lawyer whose life is in ruins—she has lost her job, her apartment and her boyfriend in one fell swoop—and who has moved back to rural Washington to spend time with her father (Peter Friedman). Between awkward pauses in the play’s opening scene, they discuss gardening, toothbrushes, sleeping arrangements; what they don’t discuss is his recent cancer diagnosis. You Got Older is less about disease than about the unease that surrounds it, and it beautifully captures elusive things about avoidance: It’s about the denial of death, but also the denial of living. You Got Older | Photograph: Courtesy Marc J. Franklin You Got Older mostly unfolds as well-observed comedy that often ventures into morbid territory. When Mae and her siblings—blunt older sister Hannah (a hilarious Nadine Malouf), amorphous middle brother Matthew (Misha Brooks) and excitable youngest sister Jenny (Nina White)—gather around their dad’s hospital bed, they spend their visit bickering, teasing and commiserating about the off-putting family odor they share: “Mold. Mildew. Musty. BO. And egg.” A similar sense of bodily dysfunction informs the flirtation between Mae and Mac (Caleb Joshua Eberhardt), a former schoolmate she encounters at a local bar; she shares details of her painful rash, and he reveals that he is into that sort of t

Theater review by Adam Feldman  An interesting fact: In the early 1940s, before he became the world’s most celebrated mime, a young Marcel Marceau was part of the clandestine French Jewish Resistance, which helped smuggle kids out of Nazi-dominated France. ''Marceau started miming to keep children quiet as they were escaping,” a fellow FJR member would later say. “It had nothing to do with show business. He was miming for his life.'' That certainly sounds dramatic, but—as illustrated by Marcel on the Train, a fictionalized biodrama by actor Ethan Slater and director Marshall Pailet—what makes a great footnote does not always make a great play.  Marcel on the Train | Photograph: Courtesy Emilio Madrid As he proved in SpongeBob SquarePants and more recently in the Wicked movies, Slater has a real gift for movement. Marcel on the Train gives him ample opportunity to showcase it as Marceau tries with varying success to entertain his 12-year-old charges, Life Is Beautifully, and distract them from the dangers outside. The adolescents, all played by adult actors, include the virtuous Adolphe (Max Gordon Moore), the mischievous Henri (an amusing Alex Wyse), the sour and pessimistic Berthe (Tedra Millan) and the cowering Etiennette (Maddie Corman), who—perhaps in response to unspeakable trauma—never says a word.  Marcel on the Train | Photograph: Courtesy Emilio Madrid Most of the play unfolds in a single train car, but director Pailet makes the most of a claustrophobic situation w

In the years since it opened its gates in May 2021, Little Island has become one of New York's primo warm-weather destinations. Open from 6am daily, the “floating” greenspace is an elevated oasis of trees and knolls and winding paths that rises—as though suspended on a bed of coupe cocktail glasses—above Pier 55 in the Hudson, just west of the Meatpacking District. In the same brief period, it has established itself as one of the city's most vital sources of low-cost high culture in the summer. Concerts, plays, dance shows, operas: These and more can be found on Little Island all summer long, whether at its 687-seat open-air amphitheater (the Amph), its smaller performance stage (the Glade) or at pop-up locations throughout the space.

Theater review by Adam Feldman  In his program note for The Dinosaurs, playwright Jacob Perkins describes how a support group for alcoholics helped him deal with traumatic memories—including that of being surrounded by a group of men to be “exorcised,” at the age of 8, from a homosexuality that had already become legible to others. In the weekly sessions he attended in a church basement, which have now inspired his elegantly elliptical and tender new play, Perkins also found a community of people wrestling with demons: drawing on one another’s strength to stay cleansed of the spirits, whether liquid or figurative, that once controlled them and which still threaten, at any moment, to slip into their weakest places.  The Dinosaurs | Photograph: Courtesy Julieta Cervantes This theme becomes explicit only once in The Dinosaurs: When Joan (Elizabeth Marvel), speaking of the mysterious maladies she suffered as a child, compares herself to “that little girl in The Exorcist after she gets possessed by the devil.” Her illnesses were harbingers of her future alcoholism, she later realized, but at that time “my disease was manifesting as restlessness, irritability, discontentedness”—problems that later, frustrated by her inability to control them, she would turn to drinking to escape. Perkins approaches alcoholism not as a physical ailment but a spiritual one. “I didn’t believe that God saw me, that God could ever wanna take care of a person like me,” Joan says, but the community of wo

Broadway review by Adam Feldman  How well do you know Sean Hayes? You probably think of him as a master of broad comedy, as he demonstrated in 11 seasons as Jack on Will & Grace (and as Jerry in Martin and Lewis and Larry in The Three Stooges). Maybe you enjoy his good-natured enthusiasm on the podcast Smartless. Maybe you saw him quip, scowl and play classical piano in his Tony-winning portrayal of Oscar Levant in Broadway’s Good Night, Oscar. Even so, you might still be surprised by how well he plays a basically regular guy in The Unknown: Elliott, a somewhat isolated, somewhat depressed, mostly sober middle-aged writer who has been having a hard time devising a screenplay, perhaps because his own life has so little drama.   David Cale’s one-man play whips some up for him. While clearing his head at a rural retreat, Elliott hears someone singing a love song about romantic disappointment—a song that Elliott wrote years earlier for a musical. When he returns to the city, a seemingly chance encounter with a handsome Texan at a West Village gay bar leads to a growing fear that he is being shadowed by a marginal figure from his past—and/or, perhaps, by that man’s identical twin. On Hayes’s old sitcom, this scenario might have been played for laughs: Jack and the Bein’ Stalked. Instead, it spirals into a dark-hued exploration of obsession and the porous line that separates life from art.  The Unknown | Photograph: Courtesy Emilio Madrid Elliott's journey, however, doesn’t travel

Theater review by Adam Feldman  In times of tyranny, there can also be resistance, and in times of resistance, there is always Antigone. The title character of Sophocles’s ancient tragedy refuses to accept a decree by her uncle Creon, the king of Thebes, that the corpse of her rebellious brother should be left unburied for beasts to devour; and the unbending Creon, who thinks the young lady protests too much, confines her to die in a cave. This mythic tale continues to resonate, and it has now inspired two concurrent Off Broadway adaptations. The first of them, imported by the Shed after premiering at London's National Theatre, is Alexander Zeldin's The Other Place; the other play is Anna Ziegler’s Antigone (This Play I Read in High School), which hits the Public later this month.  Like Robert Icke in Oedipus and Simon Stone in Medea, writer-director Zeldin squeezes the old story into a mold of contemporary psychodrama. Creon is now Chris (Tobias Menzies), who has been working with his new wife, Erica (Lorna Brown), to renovate his late brother’s house; they have opened up the living room by knocking down one wall and installing sliding glass doors in another, filling a symbolically dark and secretive space with equally symbolic sunlight. He also plans to disperse his brother’s crematory ashes outdoors—a plan that does not sit well with his niece Annie (House of the Dragon’s Emma D’Arcy), a bisexual drifter who has gone off the grid and, apparently, her meds. Although Annie’s

Playwright-director Erica Schmidt's dark comedy seems intended to update—and critique—the kind of 1930s drawing-room romp, like Noël Coward's Present Laughter or Kaufman and Hart's The Man Who Came to Dinner, in which an egocentric male artist plays ringmaster to a theatrical circus but is eventually forgiven his trespasses. Its antihero is Ben Braxton (Hamish Linklater), a self-dramatizing cinematic auteur married to a extraordinarily patient novelist, Mira (Miriam Silverman); they have a teenage daughter (Anna Mirodin), who pouts and plants trees in an effort to counteract his carbon footprint. Their arrangement is threatened by a midlife crisis that leads him to throw himself at a forward young actress named Julie (Madeline Brewer), as his leading man (Kelvin Harrison Jr.) and indulgent British producer (Dylan Baker) look on with bemusement. But the play's messages about marriage, art and other big questions are buried in a production that is nearly unbearable to watch. Although Schmidt the writer specifies, in all caps, that Ben "MUST BE CHARMING," Schmidt the director ignores that imperative; as embodied by Linklater, who usually is charming, Ben is an insufferable manchild from beginning to end, and nothing more than that. Spending even a second with him, much less The Disappear's two hours and 15 minutes, is not recommended.—Adam Feldman

Broadway review by Adam Feldman  “A paranoid might be defined as someone who has some idea as to what is actually going on,” said William S. Burroughs in a 1970 interview. Viewed from the outside, it might seem that Peter (Pass Over’s Namir Smallwood), an itinerant Army veteran, is out of his mind when he talks about the infinitesimal aphids hiding in his body and transmitting surveillance data to the government. But he knows what he knows. He can see the tiny insects. He can feel the hum of the machines at night. He has been through the sinister experiments; he has learned of the Oosterbeek consortium. And while most people don’t believe him, at least one does: Agnes (the riveting Carrie Coon), a fortysomething divorcée who lives in a seedy motel on the edge of Oklahoma City. Others may dismiss Peter’s knowledge as a disease, but not Agnes. Agnes gets it.  Bug | Photograph: Courtesy Matthew Murphy Tracy Letts’s engrossing and unsettling 1996 psycho-thriller Bug—which ran Off Broadway in 2004 and has now returned at Manhattan Theatre Club's Samuel J. Friedman Theatre—puts social contagion under the microscope with a mounting sense of dread. The lonely and isolated Agnes is especially vulnerable to Peter’s totalizing suspicion. She has good reason to be afraid: Her violent ex-husband, Jerry (Steve Key), has just been sprung from prison, and has made it clear that intends to get her back. She spends her free time emptying bottles of wine and snorting or freebasing coke with th

Brooklyn's exuberantly bawdy Company XIV, led by director-choreographer Austin McCormick, likes to add spice to familiar tales of sugar. In the past, the troupe has drawn on the stories of the Nutcracker, Cinderella, Snow White and Alice in Wonderland as inspirations for its over-the-top pageants, which combine baroque burlesque, classical dance, deluxe costumes, live singers and specialty circus acts. Its newest show, Petite Rouge, gives a decidedly adult spin to the adventures of Little Red Riding Hood in a night of dazzlement that is sure to inspire its share of wolf whistles.  What goodies are in the basket this time around? You can get a taste of Little Rouge's treats in the photos below, which Company XIV has provided to Time Out as an exclusive first look. As you can see, the show promises to be everything a big bad wolf could want. Arrroooo! Photograph: Courtesy Deneka PenistonPetite Rouge   Photograph: Courtesy Deneka PenistonPetite Rouge Photograph: Courtesy Deneka PenistonPetite Rouge   Photograph: Courtesy Deneka PenistonPetite Rouge   Photograph: Courtesy Deneka PenistonPetite Rouge Photograph: Courtesy Deneka PenistonPetite Rouge Photograph: Courtesy Deneka PenistonPetite Rouge   Photograph: Courtesy Deneka PenistonPetite Rouge   Photograph: Courtesy Deneka PenistonPetite Rouge   Photograph: Courtesy Deneka PenistonPetite Rouge Photograph: Courtesy Deneka PenistonPetite Rouge Photograph: Courtesy Deneka PenistonPetite Rouge Photograph:

The latest edition of Broadway Week—which actually lasted four weeks this year—is now officially over. But does that mean you have to pay full price for theater tickets? Hell, no. Cheap Broadway tickets abound in New York City if you know where to find them. And one great place to find them at this very moment is through TodayTix's great big New York Theatre Sale, which lasts though the end of this month.  You can access those New York Theatre Sale discounts right here. But first, you may be asking: What exactly is this big sale of which you speak? Good question! Dozens of shows, including many top Broadway and Off Broadway productions, are offering significants discounts through the New York Theatre Sale. And that's not all: The discount list also includes comedy shows, concerts and even the Metropolitan Opera's latest mounting of Puccini's Madama Butterly. Ticket prices begin at just $37, and the discounts go as high as 54%.  But there are so many shows to choose from!, you may now be exclaiming. How could a person decide which to see? We though you might ask this follow-up question, so we've prepared a short list of suggestions.  Photograph: Courtesy Mary Ellen MatthewsDaniel Radcliffe 1. Big stars in Broadway plays! Want to see Daniel Radcliffe charm the audience in Every Brilliant Thing? Or The Bear's Jon Bernthal and Ebon Moss-Bachrach rob a bank in Dog Day Afternoon? Or Rose Byrne and Kelli O'Hara spread their wings in Noël Coward's Fallen Angels? Or Madeline Brewer

Early winter and early fall tend to be lean times for even the best Broadway shows. That's why the theater industry has come up with Broadway Week, a half-price deal on tickets to nearly every Broadway production. Despite its modest name, this twice-annual offer actually covers more than three weeks: The winter 2026 edition of Broadway Week spans from January 20 through February 12, 2026. The twofer tickets go on sale at 10am ET on Wednesday, January 7.  A full list of participating shows won't be available until tickets go on sale, but if recent reasons are any guide, the slate is likely to include nearly all of the 31 productions currently running on Broadway. (Last year, only two shows opted out.) Visit the Broadway Week website as early as you can to peruse the list of participating shows and grab the ones you want most; if you act fast, you might even be able to snag seats for new hits like Chess and Maybe Happy Ending or perpetual hot tickets like Hamilton and Wicked. To make the purchasing process as fast and smooth as possible, visit the ticketing sites Telecharge and Ticketmaster in advance to make sure your accounts and payment info are up to date. RECOMMENDED: A full guide to Broadway Week in NYC Be warned that the tickets sold through Broadway Week tend to be ones that producers are most eager to sell: in balconies, mezzanines and side areas. But in recent years, the Broadway Week program has also offered a new option: If you want to shell out a little extra for 

Well, hello there. I’m Adam Feldman, the theater editor and chief theater critic at Time Out New York. Here at TONY, our goal has always been to guide readers toward the best that the city has to offer—and, more than that, to help them appreciate what makes those things the best. In the 22 years that I’ve been covering theater for Time Out, that guidance has taken ever-changing forms, and as we move into the new year, I am delighted to announce a new one.  Starting this week, we are launching a free weekly YouTube podcast series called Sitting Ovations—hosted by me, Adam Feldman!—that is devoted to taking deeper dives into the productions we’ve recommended, through in-person interviews with playwrights, directors and other people who have played essential roles in the creation of those shows. We’ll be discussing the themes and structures of plays and musicals, looking at their histories, their development processes and the decisions that have been taken along the way. I want to get into the details and geek out with top theater artists about their work: to learn more about it, to learn more about them and to amplify creative voices at a time when the noisiness of the world often threatens to drown them out. My hope is that these talks will serve as introductions to the works in question and, for people who have already seen them, provide ways to understand them more deeply. Also, I think it'll be fun. Photographs: Courtesy Allison Stock and Valerie TerranovaStephen Sc

The Public Theater's free Shakespeare in the Park will be back at full steam next summer. Having closed for renovations to Central Park's Delacorte Theater in 2023, and came back at half power this year with a single production—Twelfth Night, starring Lupita Nyong'o, Sandra Oh and Peter Dinklage—the series is set to return in 2026 with two full Shakespeare productions at the Delacorte: Romeo and Juliet and The Winter's Tale. The Public's Mobile Theater Unit will also travel through all five boroughs with an outdoor version of As You Like It.  These selections represent three very different approaches to romance: one is a tragedy, one is a comedy, and the third is a bittersweet mixture of the two.  Romeo and Juliet, the earliest of Shakespeare's major tragedies, is the timeless story of teenagers who, in rebellion against their disapproving parents, have sex and then die after scoring drugs from a local priest. This version will be helmed by the Public’s resident director and associate director, Saheem Ali, whose credits include this year's Twelfth Night in the Park as well as Broadway's Buena Vista Social Club. Photograph: Courtesy Jeff GoldbergDelacorte Theater   The Winter's Tale, by contrast, is one of the last plays that Shakespeare ever wrote, and it offers somewhat happier hopes for lovers. A sweeping story of jealousy, love, repentance, angry bears and magic statuary, it begins in deep suffering but ends, like winter itself, with the prospect of healing and rebirth.

Michael Urie is a very busy boy. One of the finest comic actors of his generation, he's worked steadily since his breakout role as Vanessa Williams's assistant, Marc St. James, on TV's Ugly Betty, but his dance card has been especially full of late. Urie has appeared in six Broadway shows in the past seven seasons, from his star turn in 2018's Torch Song to his recent summer stint as Mary's Teacher in Oh, Mary!; meanwhile, he has played a central role in the Apple TV+ series Shrinking, earning his first Emmy nomination earlier this year. But although he is best known for comedy, Urie has a background in classical acting, and even won an award for it when he was at Juilliard. That side of his training is now on display in Red Bull Theater's production of the history play Richard II, in which he has the demanding title part: the young 14th-century English king whose fall helps ignite the Wars of the Roses. We spoke via Zoom recently about his career, his influences and the challenges of Shakespeare. It feels like you've been in so much recently. Are you exhausted? My last week in Oh, Mary! overlapped with the first week of rehearsals for Richard II. I've done that before, but I'm 45 now, and it's harder than it was even two years ago when I did it for Once Upon a Mattress and Spamalot. And that was really hard: two musicals. So I’m a little tired. But it's good. This bounty of work is something I’ve always been trying to get; being able to go between varying roles was the dream

Buzz has been building for weeks that the much-loved musical The 25th Annual Putnam County Spelling Bee, which depicts an orthographic competition among anguished adolescent nerds, would be returning to New York City for a 20th-anniversary revival. Now it's official: Time Out has learned that the funny and touching 2005 tuner will be back for a spell at Off Broadway's New World Stages, starting this November, in what is billed as a 14-week limited engagement.  The original production of Spelling Bee won two Tony Awards, for Rachel Sheinkin's book and featured actor Dan Fogler, and helped launch the careers of actors including Jesse Tyler Ferguson and Celia Keenan-Bolger. News of the upcoming revival comes at a bittersweet moment for fans of the show: Its brilliantly idiosyncratic composer, William Finn (Falsettos), died in April at the age of 73, and six Broadway theaters—the Gershwin, the Broadhurst, the Walter Kerr, the Hayes, Circle in the Square and the Vivian Beaumont—will be honoring him by dimming their lights at 6:45pm tomorrow (June 17). Photograph: Courtesy Matthew MurphyThe Kennedy Center cast of The 25th Annual Putnam County Spelling Bee Hopes for a Spelling Bee revival have been growing since last fall's production of the show at the Kennedy Center in Washington, D.C., which was directed and choreographed by Danny Mefford. The New World Stages version will also be overseen by Mefford, who is best known as the choreographer of musicals including Broadway's Dear

Rating: ★★★★ Extreme religious faith, observed from the outside, can seem ridiculous or even disgusting, like a feast seen without hunger or hard-core porn without lust. For the first five minutes of Samuel D. Hunter’s engrossing and suspenseful The Harvest, five young evangelists in a shoddy Idaho church basement try to lose themselves in ecstasies of Christian belief: chanting in tongues, beating their breasts, throwing themselves on the carpeted ground. “The point is not to think,” explains the dim Marcus (Christopher Sears) to his more skeptical wife, Denise (a wonderfully deadpan Madeleine Martin). Everyone has a lot not to think about. Like much of v Mourning the recent death of his alcoholic father, Josh (a limpid Peter Mark Kendall) plans to spend the rest of his life as a missionary in the Middle East—unless his estranged sister (Leah Karpel) or all-too-close best friend, Tom (the heartrending Gideon Glick), can sway him otherwise. Masterfully directed by Davis McCallum, the excellent cast—which includes Scott Jaeck and a wittily smarmy Zoë Winters—helps get us inside the complex worlds of these characters’ devotions, as they grasp in the fearful dark for revelation. Claire Tow Theater (Off Broadway). By Samuel D. Hunter. Directed by Davis McCallum. With Peter Mark Kendall, Gideon Glick, Zoë Winters. Running time: 1hr 45mins. No intermission. Through Nov 20. Click here for full ticket and venue information. Follow Adam Feldman on Twitter: @FeldmanAdam Keep up with th

Broadway attendance is at a historical high, but sales still tend to dip in September and January, even for the very best Broadway shows. To address that issue, the industry has come up with Broadway Week, a twice-annual half-price sale for tickets to nearly every Broadway production. The name is just a bit misleading: The discounted period in question actually lasts for several weeks. The latest iteration will span from September 8 through September 21, 2025—and the twofer tickets go on sale at 10am ET on Tuesday, August 19.  To get the most out of Broadway Week, the trick is to be ready to go when the floodgates open. Visit the Broadway ticket vendors Telecharge and Ticketmaster in advance to make sure that your accounts and credit cards there are up to date. Then, at 10am on August 19, go to Broadway Week website to peruse the list of participating shows and snatch up the best seats for the ones you want most.  RECOMMENDED: A full guide to Broadway Week in NYC The tickets sold through Broadway Week tend to be ones that producers are most eager to sell: in balconies, mezzanines and side areas. But in recent years, the Broadway Week program has offered an additional option: If you want the best seats in the house, you can upgrade your order and pay $125 for tickets that might otherwise cost a whole lot more. One wrinkle: The list of participating Broadway shows is not revealed until the tickets actually go on sale, so you can't decide in advance which ones to try for. But t

Brooks Ashmanskas has been doing his thing so well for so long that it's easy to take him for granted. In a Broadway career that has spanned nearly 30 years and included 16 shows, he has been one of the Great White Way's most valuable musical-comedy players, with a speciality in playing flamboyant gay men. Nobody does it better, and this past season found him lending his talents to two different productions: a revival of the fairy-tale musical Once Upon a Mattress, in which he played the scheming court wizard, and the new backstage tuner Smash, in which he stars as the stressed-out director of a struggling Marilyn Monroe biomusical called Bombshell. Smash has earned him a Tony nomination (his third) in the category of Best Featured Actor in a Musical, but his character, Nigel, is in many ways the show's central role. That in itself is remarkable, especially on the heels of his leading performance in 2018's The Prom as Barry Glickman, a vain actor on a misguided mission to enlighten midwestern homophobes. The kind of person Ashmanskas has mastered playing—a gay man who is highly theatrical but not a drag queen—has long been relegated to the margins; it is a sign of changing times, but also of Ashmanskas's prodigious skills, that this type can now be trusted to hold center stage. The actor deserves more credit for that than he has received (or than, ever self-effacing, he would probably accept): It is partly thanks to the strength and the brilliant colors that he brings to it,

Broadway's unusually rich 2024–25 season comes to an end on Sunday, June 8, when the 2025 Tony Awards get handed out at Radio City Music Hall. The nominations have been made, the in-depth profiles of nominees have been written, our predictions have been nervously lodged. Now there's nothing left but the cheering—and, of course, the singing and dancing. The CBS broadcast on Sunday night will include musical performances by nine of this year's contenders: Best Musical nominees Dead Outlaw, Death Becomes Her, Maybe Happy Ending, Operation Mincemeat and Buena Vista Social Club; and Best Musical Revival nominees Gypsy, Sunset Blvd., Floyd Collins and Pirates! The Penzance Musical. If that's not enough to sate your hunger for Broadway, there will also be numbers from Real Women Have Curves and Just in Time. But wait, there's more! The original cast of Hamilton is scheduled to take to the stage to commemorate the show's tenth anniversary on Broadway. The show is also sure to include some original numbers—including, we assume, at least one for this year's host, the wickedly talented Cynthia Erivo. RECOMMENDED: A complete guide to the 2025 Tony Awards   Photograph: Courtesy Matthew MurphyJust in Time   Here are seven tips for watching the Tony Awards this year. 1. The Tony Awards will air live from coast to coast Theater is all about the thrill of the live moment. But until recently, viewers who weren't in the Eastern Time Zone watched the Tony telecast hours after happened. In the

Jessica Hecht has never won a Tony Award, which is a fact so surprising that it barely even makes sense as a sentence. Tonys are not, of course, the only of marker of artistic achievement in theater, or even a consistently reliable one at all. But Hecht is not just an extraordinary actor with a unique individual style that might be described as intensely grounded flightiness. She is also a pillar in the New York theater world, and especially its nonprofit division: In a career that spans more than 30 years, she has starred in six Broadway shows that were produced by either Manhattan Theatre Club or the Roundabout, plus Off Broadway offerings by the likes of the Public, Lincoln Center Theater and Playwrights Horizons. (She has starred in commercial productions, too, like 2010's A View from the Bridge, opposite Liev Schreiber and Scarlett Johansson, and 2015's Fiddler on the Roof, opposite fellow stage treasure Danny Burstein; TV fans may know her from her recurring roles as Susan Bunch on Friends or Gretchen Schwartz on Breaking Bad.) In her spare time, she serves as the executive director of a nonprofit operation of her own: the Campfire Project, which provides arts-based therapy for displaced people in refugee camps around the world. Her third Tony nomination is in the category of Best Featured Actress in a Play, for her unforgettable performance in Eureka Day as a staunch antivaxxer at a progressive day school. We spoke with her in depth about her approach to acting, her fa