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

Public spaces come alive with free outdoor theater in New York City in the summer, and especially with the plays of William Shakespeare. The top destination, of course, is usually the Delacorte Theater in Central Park, where the Public Theater’s Shakespeare in the Park presents excellent productions that among New York's best things to do in the summer. But you can also enjoy plays by Shakespeare and other classical masters elsewhere in the city: in Harlem and Brooklyn, at Battery and Riverside Parks, even in a Lower East Side parking lot. You might be surprised by the magic that can come from wonderful words, inventive actors and a mild summer breeze.  RECOMMENDED: Full guide to things to do outside in NYC

What do Julia Louis-Dreyfus, Rosamund Pike, Tom Hiddleston, Billy Crystal, Raúl Esparza, Ed Harris, Alison Janney and Hayley Atwell? They're just some of the many stars that will be coming to Broadway in the closing 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 final few months of 2026. (Other shows will be added when they are announced.) Recommended: Current and Upcoming Off Broadway Shows

The most popular Broadway shows tend to be musicals, from long-running favorites like The Lion King and Hamilton to more recent hits like Hadestown and Moulin Rouge!—but new plays and revivals also represent an important part of the Broadway experience. Right now, there are so many incredible shows to see, from musicals and plays to new stories and revivals. On a budget? Read our guide on How to Get Cheap Broadway Tickets for rush, lottery, and discount tips. RECOMMENDED: Find the best Broadway showsRECOMMENDED: Current and upcoming Off Broadway shows The 5 Best Broadway Shows Right Now (Critic's Picks) Death of a Salesman, Hamilton, Cats: The Jellicle Ball, Maybe Happy Ending and Oh, Mary! But don't just take our word for it—go see them for yourself! For a full list of shows that are coming soon, check out our list of upcoming Broadway shows.

There's no business like show business, and there's no place better for shows than New York City. The sheer range of Off Broadway show for kids proves just that. Each of these theater productions offers something unique, including blue men from another world, wild slapstick comedy, a man-eating plant and—much to kids' delight—more bubbles than you've probably ever seen. (Of course, there are plenty of great Broadway shows for kids as well.)  RECOMMENDED: More theater for kids in NYC Have you already checked out these cool Off Broadway shows for kids? New York has plenty of other fun activities up its sleeve. Visit these family attractions, grab a bite to eat after the show at one of these fun restaurants or try to check the 101 things to do with kids in NYC off your list. 

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

The Tony Awards provide a showcase and public record of Broadway performances that are otherwise local and fleeting, and the most memorable numbers from Broadway musicals on the Tonys can echo in theater history for decades to come. But which are the best of the best? We've surveyed every televised number from a nominated musical or musical revival since the first national Tony telecast in 1967 to create this list of the all-time top Tony performances. Note that we're limiting ourselves here to numbers from Tony-nominated Broadway musicals in the years they were nominated, which means no special material, musical guests or opening medleys—but plenty of classic tunes, go-for-broke dance numbers and dazzling Broadway divas. Without further ado, and accepting the possibility that some of your favorite Broadway shows may not have made the cut, prepare to be razzle-dazzled by the greatest of the Great White Way. RECOMMENDED: Complete guide to the 2026 Tony Awards 

The ever-rising cost of Broadway and Off Broadway tickets can make it hard to take full advantage of what the city's stages have to offer. Who could forget when good tickets to see Denzel Washington in Othello or George Clooney in Good Night and Good Luck went for as much as $900 a seat!? The situation is not as dire as it may seem, however: Discount Broadway tickets are everywhere, and modern technology makes it easier than ever to find cheap seats, even at the last minute. If you play your cards right, and with a little luck, you can even score affordable tickets to sold-out hits like Hamilton and Oh, Mary! or this season's new shows like The Lost Boys, Every Brilliant Thing and Death of a Salesman. Adam's Pick of the Month: The $45 rush tickets for The Lost Boys are the best value on Broadway right now. The seats are usually partial view, but you don't miss any of the major action. If you’re ready to dive in, click through our guide to getting cheap Broadway tickets. TLDR: Download the TKTS app, enter digital lotteries at 9am, rush the box office or check our exclusive discount links below.  Looking for the cheap broadway tickets last minute? Browse verified seats and discount offers via our booking partner, Broadway.com. RECOMMENDED: Full guide to all Broadway showsRECOMMENDED: Check Today's Ticket Prices 

Looking back on the 2025–26 Broadway season, it's clear that the season itself was obsessed with looking back. Revivals dominated the year, whether of musicals like Cats and Ragtime or plays like Death of a Salesman and Becky Shaw. Conversely, there was a notable dearth of new musicals: only six in total, of which five were adapted from movies or TV shows. But that doesn't make predicting the Tony Awards any easier than usual. In fact, this year's competition includes extremely close races for several of the Tonys' biggest awards, such as Best Musical, Best Revival of a Musical and Best Actor in a Play. But we have studied the 2026 Tony nominations (not to mention our own TONY* nominations) and canvassed multiple voters, so now we are ready to make our final calls. Remember, of course, that these are our predictions, not our choices, and we may well be guessing wrong. But here’s who we think will win when Pink hosts Broadway’s biggest night on June 7, 2026.   RELATED: Buy tickets to Broadway showsRECOMMENDED: Complete guide to the 2026 Tony Awards    Photograph: Courtesy Matthew MurphyThe Lost Boys BEST MUSICAL  The Lost BoysSchmigadoonTitaníqueTwo Strangers (Carry a Cake Across New York) The race: Best Musical is the Tonys' biggest prize, and this year it's also the biggest question mark. It has been a notably thin season for new musicals on Broadway; after two seasons in a row with more than a dozen new musicals apiece, the 2025–26 crop offered only six, which is why th

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?

[Note: These are Time Out New York's choices, not the actual Tony Award nominations. A complete list of official 2026 Tony nominations can now be found here.] Today we are proud to announce the annual TONY* nominations, which honor the best work on Broadway in the 2025–26 season. The very last thing we want is to confuse, so let us be super clear: TONY is an acronym for Time Out New York, and the list below is what we at TONY (i.e. Time Out New York) would nominate for the Tony Awards (i.e. the Antoinette Perry Awards) if we were the Tony Award nominating committee, which we are not. Note also, please, that we are choosing what we think should be nominated for Tonys, not predicting what we think will be nominated when the official nominations are announced at 9am on Tuesday, May 5. Several of the races are chock full of deserving candidates, and choosing among them has been hard. Heroically, however, we have forced ourselves to do it, using the eligibility decisions of the actual Tony Awards as guidelines. (A few five-slot categories have expanded to six to reflect ties in our process.) Congratulations to the 2026 TONY* nominees!  * Time Out New YorkRELATED: Buy tickets to Broadway showsRECOMMENDED: Complete guide to the Tony Awards  Best Play The Balusters by David Lindsay-AbaireGiant by Mark RosenblattLiberation by Bess WohlLittle Bear Ridge Road by Samuel D. Hunter Photograph: Courtesy Little FangLiberation Best Musical The Lost BoysSchmigadoonTitaníqueTwo Strangers (C

Every summer, people flock to Central Park in New York to score Shakespeare in the Park tickets. This beloved free annual tradition is produced by the Public Theater at the open-air Delacorte Theater. Sure, you could stay at home and stream Shakespeare movies, but the live outdoor theater experience is unique—and certainly one of the best free things to do in NYC. As has been the case since Shakespeare in the Park began in 1962, the Public distributes free tickets, but it takes some dedication to get your hands on them. After two years in which distribution shifted largely to a digital lottery, the traditional in-person lineup in Central Park has returned as one of six different ways to get tickets. RECOMMENDED: Complete guide to Shakespeare in the Park 1. In Central Park at the Delacorte Tickets are distributed in front of the Delacorte Theater on a first-come, first-served basis at 12pm on the day of the show, so you’ll have to wait in line—likely for a long time—if you want to get in. But it's worth it. Before you go, you'll need to register for a Public Theater Patron ID. Click here do that. Central Park doesn’t open until 6am, and although the Public Theater doesn’t condone it, it is legal to camp out before then by the park entrance at Central Park West and 81st Street. A line monitor from the Public will escort any early birds in when the park opens. We recommend this option only for the very desperate; otherwise, arrive no later than 10am—though we recommend much earl

The superb Quincy Tyler Bernstine stars as a Midwestern woman navigating the ruins of her life in Bubba Weiler's elegantly gorgeous play, which combines suburban marital mystery with elements of Our Town and classical tragedy. The very sharp director Jack Serio (Grangeville) has assembled a knockout ensemble cast to support her: Emily Davis, Constance Shulman, Amelia Workman, Will Dagger, Danny McCarthy, Cricket Brown and—for this run—the distinctive Matthew Maher. Go. Read the full review here.

Magic shows have been popping up like mushrooms in New York City. They tend to fall into two categories: close-up magic shows for very small audiences and, more rarely, full Broadway productions like The Illusionists or Darren Brown’s Secret. The British conjurer Jamie Allan stakes out an appealing middle ground between those scales in Amaze, his long-running show at New World Stages (directed by Jonathan Goodwin and co-created with Allan's longtime partner in illusions, Tommy Bond). The venue is big enough to accommodate a few large-scale effects, including levitation and a motorcycle, but sufficiently intimate for Allan’s personal narrative, which centers on his discovery of magic as a child.  Allan has built much of his reputation on incorporating new technology into his acts, as he sometimes does here—a particularly lovely sequence employs animation on multiple iPads—but it’s the show’s many retro 1980s references and props that provide much of its nostalgic charm: a Rubik’s Cube, a Fisher Price magic set, The Neverending Story. As one might expect from a two-act magic show that is more than two hours long, some of the routines are more impressive than others, but the skill level is consistently high and you get a lot of dazzlement for your dollar. And although the story Allan tells is tinged with loss, it is lifted by the obvious joy he takes in expertly plying his craft.

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, To

Theater review by Adam Feldman  In Anna Ziegler’s Antigone (this play i read in high school), the Chorus has an uncanny encounter with a teenage girl on an airplane. This Chorus is nicknamed Dicey, and is played with perforated steeliness by Celia Keenan-Bolger; the girl, a student played by Susannah Perkins, is reading Antigone, Sophocles’s tragedy of protest and punishment in ancient Thebes. Antigone’s behavior in the face of punishment has haunted Dicey throughout her life: an implicit spirit of reproach to her own lack of courage. She finds herself explaining, she says, “how literary characters can stalk you sometimes.”  Antigone (this play i read in high school) | Photograph: Courtesy Joan Marcus The sense of being shadowed by Antigone may feel familiar to New York theatergoers. Variations on her story are everywhere now. She was a side character in Robert Icke’s Oedipus on Broadway; Alexander Zeldin's modern British take on her, The Other Place, just closed at the Shed, but Jean Anouilh’s 1944 version is at the Flea and Barbara Barclay’s Antigone in Analysis begins next week at La MaMa. The challenge resides in finding ways to adapt a 2,500–year-old tragedy—in which Antigone’s cause relates to the burial of her disgraced brother—to modern purposes. The girl on the plane, for one, is unimpressed with the Sophocles original. “Is it even about her?” she complains with with insouciant directness. “It seems like it’s all about her brother’s body. A man’s body.” Dicey, who i

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 But while most

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

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

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.

As those sexed-up teens in Grease once sang: Summer loving happens so fast. If what you love is cheap Broadway tickets, you have just two weeks to take advantage of TodayTix's latest big theater sale: Summer Steal, which runs from today through July 5 and offers tickets to nearly two dozen shows, most starting at just $59 a pop. Unlike most other TodayTix promotions, this one is aimed at last-minute planners: The bulk of the discounted tickets are for performances during the same two-week period through July 5. So if you've got free nights in the fortnight to come, this is a great time to get spontaneous and snap up Broadway seats for a fraction of their usual prices. You can access those Summer Steal discounts right here. And if you've been putting off seeing some of Broadway shows because you think they'll be around forever, this is a good chance to cross some of those from your list: Many of the productions in Summer Steal are scheduled to end their engagements soon. That includes limited runs like the brilliant Death of a Salesman (with Nathan Lane and Laurie Metcalf), which runs through August 9, the heist-gone-wrong play Dog Day Afternoon (with The Bear's Jon Bernthal and Ebon Moss-Bachrach), which closes on July 12, and Every Brilliant Thing (with Law & Order: SVU's Mariska Hargitay), which shutters on August 9. The long-running spectacle Moulin Rouge! is giving up the ghost on August 29 after seven years on Broadway, and the spooky Stranger Things: The First Shadow

Warriors is on the march. Lin-Manuel Miranda's long-awaited musical-theater follow-up to In the Heights and the revolutionary Hamilton is another New York City story: Miranda and Eisa Davis's adaptation of the 1979 cult film The Warriors, which imagines a small group of gang members trying to find their way home through a nightmarish future version of the Big Apple, after being framed for the murder of a popular local leader. The project began as a star-studded 2024 concept album; now, producers announced today, it will move to the stage in a world-premiere Broadway production that will open in April, 2027. In addition to its ongoing popularity as a movie, The Warriors has enjoyed a long afterlife as a touchstone of hip-hop culture. For the concept album, Miranda and Davis assembled a dream cast that included such music stars as Ms. Lauryn Hill, Nas, Busta Rhymes, Marc Anthony, Marc Anthony and Ghostface Killah. Miranda and Davis's adaptation reimagines the central gang members as women. "It gets at these very primal fears, these very primal needs that we have for crew, for family, for survival," Davis told Time Out in an extensive 2024 interview about the album, which launched at Brooklyn's Time Out Market in October, 2024. "I always say that The Warriors is like a visual guide to everything you are afraid of in New York City," Miranda added. "Someone falls in the subway tracks, there’s a track fire, you get chased by the cops, you get chased by the wrong gang in the wrong n

Every bubble, no matter how grand, eventually bursts. And so it goes for the Off Broadway phenomenon Gazillion Bubble Show, which has delighted countless families and tourists for nearly two decades. Here's the soap dish: Time Out has learned that the show, created and initially performed by self-described "bubble scientist" Fan Yang, will end its run at New World Stages on September 7, 2026.   "Fan Yang's blissfully disarming act consists mainly of generating a dazzling succession of bubbles in mind-blowing configurations, filling them with smoke or linking them into long chains," wrote David Cote in his laudatory 2007 Time Out review. "Lasers and flashing colored lights add to the trippy visuals."  TICKETS: Buy tickets to Gazillion Bubble Show  Photograph: Courtesy Kyle FromanGazillion Bubble Show Gazillion Bubble Show's focus on creative wonder has made it especially popular with young audiences. But it has been a family show in another way, too: Over the years, as Bubble Show's remarkable run continued, Fang entrusted its performance to other members of his clan: his wife, Ana; their children Deni and Melody; and his brother Jano. Together, the Yangs have set 18 Guinness World Records, including for the most people inside a single bubble (181) and the largest land mammal placed inside a bubble (an elephant). “For 19 years, New York has dreamed in bubbles,” say Fan Yang. “What began as a unique family production became something much greater than we ever imagined. Gazi

Theater review by Adam Feldman Rating: ★★★ (three stars)Ticketing: How to get tickets to Shakespeare in the Park “¿O Romeo, Romeo, por qué eres Romeo?” asks Juliet in Shakespeare in the Park’s new production of Romeo & Juliet, and some in the audience may wonder the same. Why, in director Saheem Ali’s adaptation of this quintessential lover’s tragedy, is the hero’s name often rendered in Spanish—as Romeo, that is (as in Alfa Romeo), instead of plain old regular Romeo? And not just his name: In this telling, Romeo (Daniel Bravo Hernández) delivers many of his lines in Spanish, and in the scenes he shares with Juliet (the gorgeous Ra’Mya Latiah Aikens), so does she. No English translations are provided in those moments; the show entrusts their meaning to the international language of love.  Photograph: Courtesy Joan MarcusRomeo & Juliet Ali’s choice reflects his overarching concept for the production, which he sets in a modern American-Mexican border town called Nueva Verona. Shakespeare’s feuding families, “both alike in dignity,” now represent two sides of a political and cultural divide. Juliet’s relatives, the Capulets, are rich and brutal, in border-patrol black uniforms; Romeo’s people, the Montagues, mostly wear bulky, identity-hiding togs and scrawl slogans urging the end of ICE and the destruction of the tall, angled metal wall that dominates Maruti Evans’s set. (Behind it are two giant statues: one of a beautiful young woman, the other of a skeleton.) Romeo’s Spanis

Theater review by Adam Feldman Rating: (★★★★★) five stars Ticketing: Buy tickets here It’s mourning in America. Maggie (the superb Quincy Tyler Bernstine), recently widowed, is reeling from her loss in the house she has shared for 25 years with her late husband, Marv, whose sudden death has made him a hero in their suburban Midwestern community. The emptiness of the place is palpable, and made visible, too: Although the living-room decor is described in detail by a narrator (Matthew Maher) who haunts the sidelines, the stage we see is empty save for a few bleak chairs, a table and a small kitchenette. As Hal David once lyricized: A chair is not a house, and a house is not a home. And making matters worse is Maggie’s growing, horrified suspicion that Marv may not be worth grieving—that their life together was not what she thought. She’s suspended in a purgatory of doubt.  Photograph: Courtesy Emilio MadridWell, I'll Let You Go   In style and tone, Bubba Weiler’s elegantly devastating Well, I’ll Let You Go—which has returned for a limited encore run at Studio Seaview after a sold-out run at the Irondale Center last year—owes an open debt to Thornton Wilder’s 1938 masterpiece of Americana, Our Town (and to David Cromer’s 2009 revival of it at the Barrow Street Theatre). But the play also has an echo of ancient Greek tragedy: Weiler structures it as a series of two-person scenes between the stricken Maggie and a stream of visitors bearing news from the outside world, each holdi

Theater review by Adam Feldman Rating: ★★★★ (four stars)Ticketing: Buy tickets here  What do women want? To that age-old mystery, three horny hausfraus in the opening number of Heated Rivalry: The Unauthorized Musical Parody (all three of them named Susan) offer a solution so simple, so obvious, that it’s amazing it hasn’t been found before now: “Gay. Hockey. Players. With big butts.” That’s the secret of the skate-away success of Heated Rivalry, the hit HBO series about hot young hockey stars who face off on the ice but suck face on the sly. The show’s many sex scenes—“In their beds. On the couch. In their homes. Also in hotels,” the Susans breathlessly sing—are part of its appeal, of course, but it’s the two men’s sincere longing that keeps viewers hooked. Or as the Susans encapsulate it: “Sucking dick–but they’re sad.”  Photograph: Courtesy Matthew MurphyHeated Rivalry: The Unauthorized Musical Parody By rights, Dylan MarcAurele’s raunchy musical spoof should not be nearly as funny as it is. But as directed by Alan Kliffer in a sixth-floor space at the Culture Club, the Chelsea complex that used to house Sleep No More’s McKittrick Hotel, this scrappy show is an unexpected delight in the irreverent camp tradition of Silence! The Musical! and the original Asylum production of Titanique. Writer-composer MarcAurele rolls out a seemingly inexhaustible series of double entendres and works in cultural references from RuPaul’s Drag Race to Ocean Vuong. On an amusing low-tech set

It's spring! Or as that unforgettable lyric in Seven Brides for Seven Brothers puts it: "Spring, spring, spring." Among other things, that brings us a host of attractive new theater productions, on Broadway and off. An obstacle: Ticket prices, as everyone knows, have been rising. But cheap Broadway tickets abound in New York City, and one great place to find them right is now is through TodayTix, which is celebrating the season with a big old Spring Theatre Sale for tickets purchased from now through May 17. You can access those Spring Theatre Sale discounts right here. Photograph: Courtesy Evan ZimmermanDog Day Afternoon  Dozens of shows, including many top Broadway and Off Broadway productions, are offering significants discounts through this Spring Theatre Sale. As a bonus, the discount list also includes comedy shows, concerts and even the Metropolitan Opera's latest mounting of Verdi's La Triviata. Ticket prices begin at just $36, and the discounts go as high as 55%.  Here are a few suggestions as you navigate the more than 40 shows on offer: 1. Tony! Tony! Tony! The sale list includes several shows that are nominated for Tony Awards this year: the five-star dramedy Becky Shaw (with Alden Ehrenreich and Madeline Brewer), the wacky musical spoof Titaníque (Jim Parsons, Deborah Cox and Marla Mindelle as Celine Dion), the heist-gone-wrong play Dog Day Afternoon (with The Bear's Jon Bernthal and Ebon Moss-Bachrach). A handful of tickets are available for the Noël Coward s

The actual nominations for this year's Tony Awards—not to be confused with the beloved annual TONY* nominations!—were announced this morning. This year's Tony Awards honor the best Broadway shows and artists of the 2025–26 season. The ceremony will be held at Radio City Music Hall on Sunday, June 7, and broadcast live on CBS. Here are the contenders.RELATED: Buy tickets to Broadway showsRECOMMENDED: Complete guide to the 2026 Tony Awards  Photograph: Courtesy Little FangLiberation Best Play The Balusters by David Lindsay-AbaireGiant by Mark RosenblattLiberation by Bess WohlLittle Bear Ridge Road by Samuel D. Hunter  Best Musical The Lost BoysSchmigadoonTitaníqueTwo Strangers (Carry a Cake Across New York) Photograph: Courtesy Matthew MurphyThe Lost Boys Best Revival of a Play Becky ShawDeath of a SalesmanEvery Brilliant ThingFallen AngelsOedipus Best Revival of a Musical Cats: The Jellicle BallRagtimeThe Rocky Horror Show Photograph: Courtesy Matthew MurphyCats: The Jellicle Ball Best Book of a Musical Jim Barne and Kit Buchan, Two Strangers (Carry a Cake Across New York)Tye Blue, Marla Mindelle and Constantine Rousouli, TitaníqueDavid Hornsby and Chris Hoch, The Lost BoysCinco Paul, Schmigadoon Best Original Score (Music and/or Lyrics) Written for the Theatre Steve Bargonetti, Joe Turner's Come and GoneJim Barne and Kit Buchan, Two Strangers (Carry a Cake Across New York)Cinco Paul, SchmigadoonThe Rescues, The Lost BoysCaroline Shaw, Death of a Salesman  Best Performan

Broadway review by Adam FeldmanRating: ★★★★ (four stars)Ticketing: Buy tickets to The Balusters “The politics of the university are so intense because the stakes are so low," said the Columbia professor Wallace Sayre. His quip that has been generalized into what’s known as Sayre’s law: The less consequential the issue, the more bitter the divisions about it become. Though often applied to the academe, this law is equally relevant to the insular worlds of co-op boards, planning committees and homeowners associations of the kind depicted in David Lindsay-Abaire’s entertaining and needling drawing-room comedy The Balusters. Directed by Kenny Leon for Manhattan Theatre Club, and set in a wealthy residential neighborhood called Vernon Point—think Prospect Park à clef—the play takes relish in sending up the tensions beneath placid surfaces. Photograph: Courtesy Jeremy DanielThe Balusters Not a detail is amiss in the elegant front parlor of the Victorian home that belongs to Kyra (a radiantly poised Anika Noni Rose), the Neighborhood Association’s newest member. Her decor establishes African-American identity in a context of traditional fancy taste; gorgeously appointed by set designer Derek McLane, the room is practically a character in its own right. (Among the production photos provided to the press is one of the set by itself, free of actors.) The creamy upholstery of the central couch is offset by brightly colored pillows; Rose herself, dressed by Emilio Soso in vibrant puffy

Broadway review by Adam FeldmanRating: ★★★★ (four stars)Ticketing: Buy tickets to The Lost Boys Swooping in, teeth bared, at the close of an anemic season for Broadway musicals, The Lost Boys is out for blood. Adapted from the 1987 coming-of-fangs film about teenagers fighting a vampire infestation in southern California, this show aims to set your pulse bounding; no other new tuner this season has been so ambitious in scope or anywhere near so spectacular in stagecraft. Director Michael Arden and scenic designer Dane Laffrey, whose past collaborations include Maybe Happy Ending and A Christmas Carol, have again created a world we’ve never seen onstage before: surprising, thrilling, sometimes genuinely unsettling. The good things about The Lost Boys are so good, in fact, that they make its fumbles especially frustrating; there’s a sense of lost opportunity. But to an impressive extent, the show succeeds where earlier vampire-themed musicals—the ironically short-lived Dance of the Vampires, Dracula and Lestat—have merely sucked.  Photograph: Courtesy Matthew MurphyThe Lost Boys The title refers, in part, to a pair of teenage brothers in immortal peril: the rebellious Michael (LJ Benet), who rides a motorcycle and wears a leather jacket, and the younger and dorkier Sam (Benjamin Pajak), who likes comic books and has a thing for Rob Lowe. With their newly single mother, Lucy (Shoshana Bean), they have just moved into a weird old house in Santa Carla. What they don’t know is th

Broadway review by Adam FeldmanRating: ★★★★ (four stars)Ticketing: Buy tickets to The Rocky Horror Show “Give yourself over to absolute pleasure,” urges the absurdly named Dr. Frank-N-Furter as the silly, sexy cult musical The Rocky Horror Show nears its frenzied climax. Roundabout Theatre Company’s exuberant Broadway revival of the show, directed by Sam Pinkleton and featuring a killer cast led by international heartthrob Luke Evans as Frank, makes roughly the same invitation. It’s an awfully hard one to resist.  Richard O’Brien’s spoof of science-fiction and horror B movies—a delirious mix of satire, rock & roll and anything-goes queer sensibility—premiered in 1973, as glam rock was giving moralists the vapors. Frank, the story’s strutting all-purpose villain, reflects all of that: A self-proclaimed “sweet transvestite” from the planet Transsexual (in the Transylvania galaxy), he’s an alien, a mad scientist, a murderer and an all-purpose corrupter of morals, hellbent on sexual as well as interplanetary conquest. The powerfully spicy Tim Curry originated the role onstage and, more crucially, in the 1975 film adaptation, The Rocky Horror Picture Show, which became the ultimate midnight movie and inspired rituals of viewership—costumes, props, a practical second script of jokes to be shouted at the screen—that continue to this day. Photograph: Courtesy Joan MarcusThe Rocky Horror Show That interactivity has become an essential part of the experience of seeing the film, and s

Broadway review by Adam Feldman Rating: Not starred BOOK TICKETS Sometimes everything just goes wrong. Friends get together to snag valuable property from a vault, but they haven’t planned the operation well enough; they make unforced errors, they panic, and soon they’re holding people hostage in a sorry and confusing situation that drags on for hours. That is the story told in Dog Day Afternoon, the classic 1975 film about a real-life 1972 Brooklyn bank heist turned tense and sweaty standoff. It is also the story of Dog Day Afternoon, Stephen Adly Guirgis’s confounding new Broadway play, in which the heat never rises past lukewarm and it’s the paying audience that winds up robbed.  Photograph: Courtesy Evan ZimmermanDog Day Afternoon What gave the original crime an extra frisson of sensationalism was that the would-be robbers, John Wojtowicz and Sal Naturile, were known in the local gay community; Wojtowicz was planning to use the money to finance a sex-change operation for his lover, whom he had married the year before. The Life magazine article that inspired the movie—titled “The Boys in the Bank,” a nod to Mart Crowley’s closet-breaking play—described Wojtowicz as “a dark, thin fellow with the broken-faced good looks of an Al Pacino.” Journalistic dream casting came true when Pacino ended up starring in director Sidney Lumet’s motion picture, playing the Wojtowicz character, Sonny, opposite the haunted-hangdog John Cazale as Sal and a raw, unstable Chris Sarandon as Son