Adam Feldman

The best Broadway shows attract millions of people to enjoy the pinnacle of live entertainment in New York City. Every season brings a new crop of Broadway musicals, plays and revivals, some of which go on to glory at the Tony Awards. Some are only limited runs; others stick around for years. And the choices are varied: Alongside star-driven dramas and family-oriented blockbusters, you may find the kind of artistically ambitious offerings that are more common to the smaller venues of Off Broadway. Here are our theater critics' top choices among the shows that are currently playing on the Great White Way.  RECOMMENDED: Complete A–Z Listings of All Broadway Shows in NYC

Broadway musicals are the beating heart of New York City. These days, your options are more diverse than ever: cultural game-changers like Hamilton and raucous comedies like The Book of Mormon are just down the street from quirky originals like Kimberly Akimbo and family classics like The Lion King. Whether you're looking for classic Broadway songs, spectacular sets and costumes, star turns by Broadway divas or dance numbers performed by the hottest chorus boys and girls, there is always plenty to choose from. Here is our list of all the Broadway musicals that are currently running or on their way, followed by a list of those in smaller Off Broadway and Off-Off Broadway venues. RECOMMENDED: The best Broadway shows

No todo es el boom de las pizzerías napolitanas. Hay muchas otras ideas que se suman al generoso repertorio de los mejores restaurantes italianos de Buenos Aires. Recorrimos los barrios gastro de moda y los emblemáticos, como Boedo y La Boca, nos fuimos hasta Campana y Pilar para relevar los platos de hoy y los de siempre, los que nos hacen viajar por un rato a la bella Italia. De una esquina de Palegiales a una de Martinez, de una pizzería romana, a una cantina adriática, de un pastificio a una pasticceria o un mercato. De la nueva generación, a los tanos de toda la vida. Van nuestros 16 elegidos de esta cocina que a los argentinos nos encanta, candidata a patrimonio inmaterial de la humanidad, por su sustentabilidad y diversidad biocultural.

Buenos Aires no para, su movida gastronómica tampoco. De una parrilla de lujo a un galpón vegetariano, un bodegón de 1952 , alta cocina botánica, fine dining de autor, charcutería en la vereda y comida porteña nostálgica en un mercado. Te lo ponemos fácil o te la hacemos corta: estos son sus restaurantes esenciales.

Buenos Aires never stops, and its gastronomic scene doesn't either. From a luxury grill to a vegetarian warehouse, a 1952 diner, botanical haute cuisine, signature fine dining, charcuterie on the sidewalk, and nostalgic Porteño food in a market. We make it easy for you or we make it short: these are its essential restaurants.

For going out during the week, for staying out late, for transporting yourself to a beach or another era through a cocktail. Discover signature drinks and relive the classics. We sit at the best bars in the city to tell you which ones they are. Are you up for a drink?

Para salir en la semana, para volver bien tarde, para trasladarte en un cóctel a una playa o a otra época. Descubrir tragos de autor y revivir los de siempre. Nos sentamos en las mejores barras de la ciudad para contarte cuáles son. ¿Estás para tomar algo?

RAGGIO OSTERIA El restaurante italiano más nuevo de la Guía Michelin, dentro de un hotel palermitano. Tiene un poco más de un año y ya empezó con el pie derecho: está en las recomendaciones de la prestigiosa Guía Michelin. Gastronomía italiana con materia prima argentina, es la fórmula de este reciente éxito alojado dentro del Hotel Pleno Palermo Soho. Anchoas de Mar del Plata, ají de Salta y oliva de Mendoza en unas artesanales pastas casarecce. Aceitunas negras de La Rioja y alcaparrones de Santiago del Estero, para la salsa puttanesca. Los pistachos son de San Juan; la carne y los vegetales, del campo bonaerense. En Raggio Osteria se reúnen los productos de nuestra tierra y nuestro mar, con las recetas tradicionales que Sebastián Raggiante trae de su Bologna natal. El viaje no fue directo, tuvo muchas escalas en el camino, como su paso por el consagradísimo El Bulli, un Relais & Châteaux de la Costa Azul como Le Petit Nice y el sofisticado ristorante Cracco de Milano. En Mallorca, cuando era jefe de cocina, el mediterráneo Gadus se llevó una estrella Michelin. Cuando emigró a Buenos Aires, supo tener su propio lugar (junto a su expareja), se llamaba Moreneta y quedaba en Montserrat. Pero todo esto es parte del pasado de Sebastián, a quien el presente lo encuentra en un muy buen momento. A poco de inaugurar su ostería, la estrella lo vuelve a tocar. Algo que lo tiene tan contento como ocupado. Raggio Osteria Sentarse a la mesa de Raggio Osteria, una experiencia que involu

La comida entra por los ojos, y en el caso de la de Tomás Treschanski, también entra por la cabeza. Comer una idea es la propuesta de este jovencísimo chef revelación.”Un embajador de la próxima generación” lo llamó Michelin y le dio el Young Chef Award. El restaurante de cocina conceptual del cocinero más joven de América en recibir el premio es también una estrella Michelin. Un revolucionario del fine dining. Cuando creíamos que este formato de alta cocina estaba agonizando en Buenos Aires, él lo hizo resucitar. O mejor dicho, renacer, porque le otorgó una nueva vida disruptiva, en una casa recuperada de Villa Crespo, donde hasta las paredes transmiten sensaciones. Arte en los platos y en la ambientación Trescha Para llegar hasta acá hay que darle por Juan B. Justo al fondo, pasar por la cancha de Atlanta, y por decenas de negocios de venta de repuestos de autos. Las cortinas metálicas de los talleres mecánicos están bajas, el barrio en silencio, y la barra de Trescha encendiéndose con el atardecer. Nos reciben con una copa de champagne francés, mientras Cerati pone el rock. Es una barra muy cuidada, donde también nos alcanzan los snacks: macarrón de remolacha y mandarina con praliné de maní picante, tartaletas de texturas de puerro y de tartar de wagyu, miso de frutillas y mandioca frita. Blinis de tinta calamar, vieiras, melón y cecina; beignet espumado de kimchi y azafrán. Trescha Y eso que todavía no hemos pasado al salón, donde el chef counter es directamente un la

Aquí todo está dispuesto para pasarla y sentirse bien. Subís la escalera y entrás en un sitio único. El local fue equipado con tres contenedores que trajeron desde Japón repletos de todo lo que puedas imaginas: desde la heladera Hoshizaki -que no se empaña-  a las tablas, los cuchillos y la vajilla, que complementan con piezas locales artesanales. La armonía que sentís en la ambientación también se siente en el cuerpo. Cocina japonesa moderna sin gluten, baja en sodio, grasas y azúcares. ¿Acaso se puede pedir más? Seguro nunca probaste nada igual, simplemente porque ellos elaboran todo, desde las masas a las salsas, tapas de harina de arroz, texturas de mandioca. Cada ingrediente es orgánico y fermentado en casa, algunos por un par de días, otros por meses o un año. El nuevo restaurante combina la trayectoria del chef Leo Lanussol y su reinterpretación del street food japonés con los dones del sushiman Fabián Masuda, pionero en ofrecer omakase en Buenos Aires. La dupla trae una propuesta vanguardista, 100% libre de gluten, baja en sodio, grasas y azúcares, lo que implica un trabajo constante de investigación. “La biblioteca de fermentos es el corazón de Nika, allí elaboramos hasta nuestra propia salsa de soja, porque todas las industriales tienen trigo”, nos explica Leo.    Nika Club Omakase Una opción es arrancar por el bar, especializado en sake y whisky japonés, con un acervo de 900 botellas. Para eso se pensaron los snacks, para que puedas demorarte tranquilo en esta ba

Broadway shows are practically synonymous with New York City, and the word Broadway is often used as shorthand for theater itself. Visiting the Great White Way means attending one of 41 large theaters concentrated in the vicinity of Times Square, many of which seat more than 1,000 people. 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. There’s a wide variety of Broadway shows out there, as our complete A–Z listing attests. And for a full list of shows that are coming soon, check out our list of upcoming Broadway shows. RECOMMENDED: Find the best Broadway shows

Para vivir la tradición del asado argentino en primera fila, frente al fuego y al chef parrillero. Las carnes y los vinos son protagonistas, aunque también hay opciones vegetarianas. Te contamos a detalle nuestra experiencia en esta parrilla argentina que hace todo bien. Fogón Asado está emplazado en una casa antigua de Palermo reformada y decorada con un gusto tan exquisito, como los sabores argentinos que propone esta parrilla de lujo en la que nunca se acaba el fuego. Nos reciben con el perfume a quebracho, que ya está chispeando, y un Lado Luminoso, el cóctel de la casa con torrontés, gin infusionado con yerba mate, vermú y néctar de flores de sauco. En seguida llega el sifón, otra de las estrellas de la noche. Fogón Asado La ceremonía continúa al sentarse en la front row de este desfile de tradiciones, ante una parrilla que fue diseñada a medida: en las planchas van los vegetales orgánicos; en el fogón, las proteínas de La Pampa, de animales de pastura que preservan el sabor característico de la raza Angus. La leña viene del Norte: la madera blanca, más liviana, la usan para prender el fuego; la roja, para lograr las brasas.   Fogón Asado Nos presentan los cortes que vamos a probar: ceja con crema de coliflor y choclo al rescoldo, ojo de bife con puré de boniatos, un costillar -que tiene 8 horas de cocción con distintas técnicas- y matambre, una particularidad argentina, una pieza que tiene personalidad propia. La degustación se completa con berenjena ahumada con ric

Broadway review by Adam Feldman  The fraying country estate where Uncle Vanya unfolds is peopled, in the main, by thwarted souls. Its characters wallow in regret, especially the loveless Vanya (Steve Carell). He has sacrificed his money and time, and what he believes to have been his great potential—”I could have been a Schopenhauer, or a Dostoevsky,” he sputters—to support his pompous brother-in-law, Alexander (Alfred Molina), an academic who once enjoyed a great reputation. But now, in middle age, Vanya feels that his reverence for the professor was misplaced. His dutiful work has taken him nowhere, and now he has nowhere to go.  Uncle Vanya is set in Russia at the end of the 19th century, but it is perhaps the Chekhov play that feels closest to 21st-century sensibilities, and it is sometimes strikingly prescient of today’s concerns: Vanya’s doctor friend Astrov (William Jackson Harper), for example, is an environmentalist who plants trees to replace those mowed down by industrial loggers, and his artwork paints a worrisome picture of impending “total obliteration.” It’s relatable. There is logic, then, to the decision to dispense with fidelity to Chekhov’s period and update the play to a contemporary setting for Lincoln Center Theater's new production, adapted by Heidi Schreck and directed by Lila Neugebauer. To some extent, the gambit succeeds: Many of the production’s most pleasurable moments are connected to this modernization. But it’s also, I think, where the producti

Broadway review by Adam Feldman  “Nothing to do except wait,” explains Mary Jane (Rachel McAdams) to Amelia (Lily Santiago), a college student visiting her small Queens apartment. “I’m glad to have your company.” Mary Jane is a single mother with a severely disabled toddler named Alex; he is running a fever, and Amelia’s aunt Sherry (April Mathis), a nurse, is tending to him in the back room. Exactly what they might be waiting for is a question that hangs with gray menace in Amy Herzog’s exquisite and deeply moving Mary Jane: Alex is almost certainly not getting better, and even the best-case scenarios break your heart. Yet the play does not dwell in helplessness; it’s more interested in how people try to help. In addition to Mary Jane, there are eight other characters onstage. Mathis and Santiago reappear as, respectively, a doctor and a music therapist. Brenda Wehle is both Mary Jane’s sturdy superintendent and a Buddhist nun; Susan Pourfar plays two other mothers with disabled children. (The second, a blunt Hasidic woman, adds a welcome dash of comic relief.) There are no villains here, only people doing their best under sometimes crushing circumstances. Mary Jane | Photograph: Courtesy Matthew Murphy All are rendered in lovely detail by Herzog and the five women of the cast, directed by Anne Kauffman with characteristic attention to the importance of offhand nuance. Information is revealed in a steady drip of medical jargon, bureaucratic obstacles and personal history; t

Broadway review by Adam Feldman  Great expectations can be a problem when you’re seeing a Broadway show: You don’t always get what you hope for. It’s all too easy to expect great things when the show is a masterpiece like Cabaret: an exhilarating and ultimately chilling depiction of Berlin in the early 1930s that has been made into a classic movie and was revived exquisitely less than a decade ago. The risk of disappointment is even larger when the cast includes many actors you admire—led by Eddie Redmayne as the Emcee of the show’s decadent Kit Kat Club—and when the production arrives, as this one has, on a wave of raves from London. To guard against this problem, I made an active effort to lower my expectations before seeing the latest version of Cabaret. But my lowered expectations failed. They weren’t low enough. Cabaret | Photograph: Courtesy Marc Brenner So it is in the spirit of helpfulness that I offer the following thoughts on expectation management to anyone planning to see the much-hyped and very pricey new Cabaret, which is currently selling out with the highest average ticket price on Broadway. There are things to enjoy in this production, to be sure, but they’re not necessarily the usual things. Don’t expect an emotionally compelling account of Joe Masteroff’s script (based on stories by Christopher Isherwood and John Van Druten’s nonmusical adaptation of them, I Am a Camera); this production’s focus is elsewhere. Don’t expect appealing versions of the songs in

Broadway review by Adam Feldman  Hell’s Kitchen, whose score is drawn from the pop catalog of Alicia Keys, could easily have gone down in flames. Jukebox musicals often do; songs that sound great on the radio can’t always pull their weight onstage. But playwright Kristoffer Diaz, director Michael Greif and choreographer Camille A. Brown have found the right recipe for this show—and, in its vivid dancers and magnificent singers, just the right ingredients—and they've cooked up a heck of a block party.  Loosely inspired by Keys’s life, Hell’s Kitchen has the sensibly narrow scope of a short story. Newcomer Maleah Joi Moon—in a stunningly assured debut—plays Ali, a beautiful but directionless mixed-race teenager growing up in midtown’s artist-friendly Manhattan Plaza in the 1990s, a period conjured winsomely and wittily by Dede Ayite’s costumes. The issues Ali faces are realistic ones: tensions with her protective single mother, Jersey (Shoshana Bean); disappointment with the charming musician father, Davis (Brandon Victor Dixon), who yo-yos in and out of their lives; a crush on a thicc, slightly older street drummer, Knuck (Chris Lee); a desire to impress a stately pianist, Miss Liza Jane (Kecia Lewis), who lives in the building.  Hell’s Kitchen | Photograph: Courtesy Marc J. Franklin The show’s chain of Keys songs is its most obvious selling point, but it could also have been a limitation. Musically, the tunes are not built for drama—they tend to sit in a leisurely R&B groove

Broadway review by Adam Feldman  David Adjmi’s intimately epic behind-the-music drama Stereophonic has now moved to Broadway after a hit fall run at Playwrights Horizons. At the smaller venue, the audience felt almost immersed in the room where the show takes place: a wood-paneled 1970s recording studio—decked out by set designer David Zinn as a plush vision of brown, orange, mustard, sage and rust—where a rock band is trying to perfect what could be its definitive album. Some fans of the play have wondered if it could work as well on a larger stage, but that question has a happy answer: Daniel Aukin’s superb production navigates the change without missing a beat. The jam has been preserved. With the greater sense of distance provided at the Golden Theatre, Stereophonic feels more than ever like watching a wide-screen film from the heyday of Robert Altman, complete with excellent ensemble cast, overlapping dialogue and a generous running time: Adjmi divides the play into four acts, which take more than three hours to unfold. This length is essential in conveying the sprawl of a recording process that goes on far longer than anyone involved had planned, but the play itself never drags. As the band cracks up along artistic, romantic and pharmaceutical fault lines—fueled by a constant flow of booze, weed and coke, often late into the night—we follow along, riveted by the details and the music that emerges from them. There’s nary a false note.  Stereophonic | Photograph: Courtes

La comida entra por los ojos, y en el caso de la de Tomás Treschanski, también entra por la cabeza. Comer una idea es la propuesta de este jovencísimo chef revelación.”Un embajador de la próxima generación” lo llamó Michelin y le dio el Young Chef Award. El restaurante de cocina conceptual del cocinero más joven de América en recibir el premio es también una estrella Michelin. Un revolucionario del fine dining. Cuando creíamos que este formato de alta cocina estaba agonizando en Buenos Aires, él lo hizo resucitar. O mejor dicho, renacer, porque le otorgó una nueva vida disruptiva, en una casa recuperada de Villa Crespo, donde hasta las paredes transmiten sensaciones.  Leé la nota completa.

Broadway review by Adam Feldman  Tamara de Lempicka is best known for the Art Deco portraits she painted in the 1920s and early 1930s: sculptural, imposingly sexy fusions of Cubism and Mannerism—her women’s conical breasts often press out from under luscious folds of bright fabric—that still present an enticing idealization of cosmopolitan life. In many of her works, the main figures’ heads are slightly bent to the spectator’s left, as though the paintings could not contain their subjects’ full size. And that, to less pleasing effect, is the feeling one gets from the messy new musical Lempicka, a portrait of the artist that tries to cram her into too small a frame, without the benefit of strong composition. Lempicka’s story, which spanned most of the 20th century, offers no dearth of drama. As a Polish-Jewish teenager summering in Russia, she married an aristocrat, Tadeusz Lempicki, then saved him from the Bolsheviks at considerable personal cost. She embraced the louche life in Paris, rising to artistic prominence while taking multiple lovers of both sexes. (“I live life in the margins of society,” she reportedly said. “And the rules of normal society don’t apply in the margins.”) But in the late 1930s, with the Nazis on the march, she was forced to flee again, this time to America—with a rich and titled new husband—where she spent most of her remaining four decades in cultural obscurity. Lempicka | Photograph: Courtesy Matthew Murphy and Evan Zimmerman The most persuasive

Broadway review by Adam Feldman  Deep into the new musical The Outsiders, there is a sequence that is rawer and more pulse-pounding than anything else on Broadway right now. It’s halfway through the second act, and the simmering animosity between opposing youths in 1967 Tulsa—the poor, scrappy Greasers and the rich, mean Socs (short for socialites)—has come to a violent boil. The two groups square off in rumble, trading blows as rain pours from the top of the stage, just as it did in the most recent Broadway revival of West Side Story. The music stops, the lighting flashes, and before long it is hard to tell which figures onstage, caked in mud and blood, belong to one side or the other. This scene succeeds for many reasons: the stark power of the staging by director Danya Taymor and choreographers Rick and Jeff Kuperman; the aptness of the confusion, which dramatizes the pointlessness of the gangs’ mutual hostility; the talent and truculent pulchritude of the performers. But it may also be significant that the rumble contains no dialogue or songs. Elsewhere, despite some lovely music and several strong performances, The Outsiders tends to attenuate the characters and situations it draws from S.E. Hinton’s popular young-adult novel and its 1982 film adaptation. Action, in this show, speaks better than words.  The Outsiders | Photograph: Courtesy Matthew Murphy Like Hinton’s novel, which she wrote when she was a teenager herself, The Outsiders is narrated by the 14-year-old Po

Aquí todo está dispuesto para pasarla y sentirse bien. Subís la escalera y entrás en un sitio único. El local fue equipado con tres contenedores que trajeron desde Japón repletos de todo lo que puedas imaginas: desde la heladera Hoshizaki -que no se empaña-  a las tablas, los cuchillos y la vajilla, que complementan con piezas locales artesanales. La armonía que sentís en la ambientación también se siente en el cuerpo. Cocina japonesa moderna sin gluten, baja en sodio, grasas y azúcares. ¿Acaso se puede pedir más? Seguro nunca probaste nada igual, simplemente porque ellos elaboran todo, desde las masas a las salsas, tapas de harina de arroz, texturas de mandioca. Cada ingrediente es orgánico y fermentado en casa, algunos por un par de días, otros por meses o un año. El nuevo restaurante combina la trayectoria del chef Leo Lanussol y su reinterpretación del street food japonés con los dones del sushiman Fabián Masuda, pionero en ofrecer omakase en Buenos Aires. La dupla trae una propuesta vanguardista, 100% libre de gluten, baja en sodio, grasas y azúcares, lo que implica un trabajo constante de investigación. “La biblioteca de fermentos es el corazón de Nika, allí elaboramos hasta nuestra propia salsa de soja, porque todas las industriales tienen trigo”, nos explica Leo.  Una opción es arrancar por el bar, especializado en sake y whisky japonés, con un acervo de 900 botellas. Para eso se pensaron los snacks, para que puedas demorarte tranquilo en esta barra, acompañando tu be

Para vivir la tradición del asado argentino en primera fila, frente al fuego y al chef parrillero. Las carnes y los vinos son protagonistas, aunque también hay opciones vegetarianas. Te contamos a detalle nuestra experiencia en esta parrilla argentina que hace todo bien. Fogón Asado está emplazado en una casa antigua de Palermo reformada y decorada con un gusto tan exquisito, como los sabores argentinos que propone esta parrilla de lujo en la que nunca se acaba el fuego. Nos reciben con el perfume a quebracho, que ya está chispeando, y un Lado Luminoso, el cóctel de la casa con torrontés, gin infusionado con yerba mate, vermú y néctar de flores de sauco. En seguida llega el sifón, otra de las estrellas de la noche. La ceremonía continúa al sentarse en la front row de este desfile de tradiciones, ante una parrilla que fue diseñada a medida: en las planchas van los vegetales orgánicos; en el fogón, las proteínas de La Pampa, de animales de pastura que preservan el sabor característico de la raza Angus. La leña viene del Norte: la madera blanca, más liviana, la usan para prender el fuego; la roja, para lograr las brasas. Nos presentan los cortes que vamos a probar: ceja con crema de coliflor y choclo al rescoldo, ojo de bife con puré de boniatos, un costillar -que tiene 8 horas de cocción con distintas técnicas- y matambre, una particularidad argentina, una pieza que tiene personalidad propia. La degustación se completa con berenjena ahumada con ricota cítrica, provoleta crocant

Tiene un poco más de un año y ya empezó con el pie derecho: está en las recomendaciones de la prestigiosa Guía Michelin. Gastronomía italiana con materia prima argentina, es la fórmula de este reciente éxito alojado dentro del Hotel Pleno Palermo Soho. Anchoas de Mar del Plata, ají de Salta y oliva de Mendoza en unas artesanales pastas casarecce. Aceitunas negras de La Rioja y alcaparrones de Santiago del Estero, para la salsa puttanesca. Los pistachos son de San Juan; la carne y los vegetales, del campo bonaerense. En Raggio Osteria se reúnen los productos de nuestra tierra y nuestro mar, con las recetas tradicionales que Sebastián Raggiante trae de su Bologna natal. El viaje no fue directo, tuvo muchas escalas en el camino, como su paso por el consagradísimo El Bulli, un Relais & Châteaux de la Costa Azul como Le Petit Nice y el sofisticado ristorante Cracco de Milano. En Mallorca, cuando era jefe de cocina, el mediterráneo Gadus se llevó una estrella Michelin. Cuando emigró a Buenos Aires, supo tener su propio lugar (junto a su expareja), se llamaba Moreneta y quedaba en Montserrat. Pero todo esto es parte del pasado de Sebastián, a quien el presente lo encuentra en un muy buen momento. A poco de inaugurar su ostería, la estrella lo vuelve a tocar. Algo que lo tiene tan contento como ocupado. Leé la nota completa  

Broadway review by Adam Feldman  “I’m a sensation!” declares the title character of The Who’s Tommy when, as a 10-year-old boy, he first stands before a pinball machine. We hear this feeling through narration sung by the grown-up version of Tommy (Ali Louis Bourzgui), because the child version is mute; in a psychosomatic reaction to trauma years earlier, he has become a “deaf dumb and blind kid,” albeit one with an astonishing gift for racking up points in arcades. It may be hard for the audience to relate to Tommy, who spends most of the show in the expressionless mien of a child mannequin. The sensation we experience in the trippy nostalgia of this 1993 musical’s Broadway revival is closer to that of a pinball: batted and bounced from one flashy moment to the next in a production that buzzes and rings with activity.  Tommy is based, of course, on the 1969 concept album that Pete Townshend wrote for his band, the Who. The plot of this rock opera is not entirely clear just from listening, so the stage musical—adapted by Townshend with director Des McAnuff—reorganizes a few of the songs and fills out the story in a different way than Ken Russell’s outré 1975 film did. During the overture, we see Tommy’s father (Adam Jacobs), an officer in the Royal Air Force, get captured by the German soldiers. (Between this, Harmony, Lempicka, Cabaret and White Rose, it’s quite a year for Nazis in musicals.) When Captain Walker returns to his wife (the very fine Alison Luff), he winds up kil

Julianna Margulies and Peter Gallagher are set to return to Broadway this fall in Left on Tenth, a stage adaptation of Delia Ephron's bestselling memoir about a late-in-life love connection.  Helmed by two of Broadway's most powerful women, producer Daryl Roth and director Susan Stroman (The Producers), the play is scheduled to premiere on the Great White Way this fall, at a theater to be determined. “I am grateful and thrilled to be working with these champions of theater,” said Ephron. “Left on Tenth is about a perilous and wondrous time of my life. We invite you to join our team of warriors and become believers yourselves.” Ephron's husband died of cancer in 2015, just three years after the cancer death of her sister Nora, with whom she cowrote the scripts for the movie You've Got Mail and the long-running Off Broadway play Love, Loss, and What I Wore. Her 2022 book Left on Tenth: a Second Chance at Life chronicles her surprise reconnection, in the wake of those deaths, with a man she had dated half a century earlier—only to find herself in a cancer struggle of her own. “When Delia first spoke to me about her manuscript of Left on Tenth, I felt that her story would make a magnificent play,” said Roth. “It is heartfelt, deeply personal yet universal, and full of hope. But it is also a classic romantic comedy for a certain generation, showing us that we can all be blessed with a second chance at life and love.” Margulies's previous New York stage credits include Ten Unknowns

“Let Me Tell You” is a series of columns from our expert editors about NYC living, including the best things to do, where to eat and drink, and what to see at the theater. They are published every week. Dear members of the Tony Awards Nominating Committee for the 2023-2024 Broadway season, First of all: Hi. Hi to all 60 of you, though probably about a third of you will have to recuse yourselves from service this year because of some connection to an eligible production. (It’s a small community!) All of you are professionals whose opinions I respect. I’ve met many of you in person; I’ve had long conversations with several of you, and I think my girlfriend when I was a teenager babysat for one of you. Some of you I’ve only admired from afar. But I hope you won’t mind if I address you all as friends. As you know, my friends, Broadway’s dam is about to break. Only five weeks are left before the cutoff date for Tony Award eligibility on April 25, yet we are barely over the hump when it comes to new productions. Sixteen shows have yet to open—nearly half of the 36 that will compete for Tony nominations this year—and 12 of those 16 will be crammed into the final nine days of the season. Photograph: Courtesy Matthew Murphy and Evan ZimmermanLeslie Rodriguez Kritzer in Spamalot This year’s scramble to the finish line is particularly bonkers, yes, but it’s consistent with the trend that I analyzed in January: Broadway seasons are getting more and more bottom-heavy, and April is getti

ブロードウェイシーズンの最終週は信じられないほど忙しいものだが、今年はいつもよりバタバタしそうだ。「イリノイズ」のプロデューサーが同作を、シーズン終了のギリギリのタイミングとなる2024年4月24日（水）の午後に「セント・ジェームズ・シアター」で上演開始することを発表したのだ。 この作品は、シンガーソングライターのスフィアン・スティーヴンスが2005年に発表したムーディーなコンセプトアルバム「Illinois」の楽曲を中心に構成されたダンスミュージカル。トワイラ・サープが2002年に手がけたビリー・ジョエルのダンスミュージカル「ムーヴィング・アウト」と、ほぼ同じ手法で作られているといえる。 演出・振付はニューヨーク・シティ・バレエ団の常任振付家であるジャスティン・ペック。彼は2018年のブロードウェイリバイバル版「回転木馬」や、2021年にリメイクされた映画「ウエスト・サイド・ストーリー」の振付も担当している。 ペックが劇作家ジャッキー・サブブリーズ・ドーリーとともに考案した物語は、ハートブレイクとコミュニティーがテーマ。それを3人のボーカリストと11人編成のバンド、16人のダンサーで表現する。キャストはリッキー・ウベダ、ベン・クック、ギャビー・ディアス、アーマッド・シモンズ、そして「An American in Paris」のスター、ロビー・フェアチャイルドなどで、ボーカリストはまだ決定していない。 Photograph: Courtesy Liz LaurenIllinoise 「イリノイズ」がこれほど急いで公演を実現しようと躍起になっているのは、今年のトニー賞の受賞資格を得るための最終開幕日が25日（木）だから。ただ、セント・ジェームズ・シアターは7日（日）まで「SPAMALOT」のリバイバル公演で埋まっている。そのため、極めて異例なことだがプレビューは一切なく、「イリノイズ」は劇場で「慣れる」前に初演で開幕となるのだ。 この4月後半のブロードウェイは、どれほど「混雑」しているのだろうか。17日（水）から25日（木）までの間に、「イリノイズ」のほかに12作品が上演されるが、それを踏まえて見てみよう。  2023〜24年の1年間でトニー賞候補となるブロードウェイ作品は36作品。つまり、なんとその3分の1がこの最後の9日間に開幕するのだ。さらに、ミュージカル作品賞のわずか5枠しかないノミネーションを争うオリジナルミュージカルは15作品（過去数十年で最多で、6つのリバイバル作品は除く数）となる。 だから、あなたの良き友人である演劇評論家のために、優しい心遣いを惜しまないでほしい。我々もこの忙しい時期に備え、身を引き締めている。「イリノイズ」のチケットはこのページで購入できる。 関連記事 『The Sufjan Stevens dance musical Illinoise will open on Broadway next month（原文）』 『舞台を支える名裏方、徳永泰子にインタビュー』 『映画「52ヘルツのクジラたち」​​インタビュー：志尊淳、若林佑真』 『文楽×アニメーションが生み出す新たな「曾根崎心中」』 『大井競馬場の駐車場跡地に新たな劇場「シアターH」が誕生』 『ニューヨークでカジノ併設の超高層ビルを建設するプランが発表』 東京の最新情報をタイムアウト東京のメールマガジンでチェックしよう。登録はこちら  

Update: Sleep No More has been extended by four weeks to April 28, 2024. According to The McKittrick Hotel, the extension comes as a way to accommodate “the outpouring of admiration,” it has received since announcing its closure. The McKittrick Hotel will soon accept no new reservations: The remarkable immersive experience Sleep No More, New York City’s premiere live attraction since 2011, announced today that it will shut its doors for good on January 28, 2024. An unsettling and sexy dance-theater piece lodged in an extravagantly detailed mock hotel complex on West 27th Street, the show was created by the British company Punchdrunk and produced in NYC by Emursive. When it closes, it will have played exactly 5,000 performances and entertained some two million spectator-participants. "A multitude of searing sights crowd the spectator's gaze at the bedazzling and uncanny theater installation Sleep No More," wrote David Cote in his Time Out review. "Your sense of space and depth—already compromised by the half mask that audience members must don—is further blurred as you wend through more than 90 discrete spaces, ranging from a cloistral chapel to a vast ballroom floor. Directors Felix Barrett and Maxine Doyle, of the U.K. troupe Punchdrunk, have orchestrated a true astonishment, turning six warehouse floors and approximately 100,000 square feet into a purgatorial maze that blends images from the Scottish play with ones derived from Hitchcock movies—all liberally doused in a dis

The already unbelievably busy final week of the Broadway season just got even busier: The producers of Illinoise announced today that the show will sneak under the wire to open at the St. James Theatre on the afternoon of Wednesday, April 24. A dance musical built around songs from singer-songwriter Sufjan Stevens's moody 2005 concept album Illinois—roughly in the mode of Twyla Tharp's 2002 Billy Joel dance musical Movin' Out—the show has been a sold-out hit in its current Off Broadway run at the Park Avenue Armory, where it closes this weekend. It is directed and choreographed by New York City Ballet resident choreographer Justin Peck, who also created the dances for the 2018 Broadway revival of Carousel and the 2021 film remake of West Side Story.  Three vocalists and an 11-piece band perform the music while 16 dancers move through a story of heartbreak and community, devised by Peck with playwright Jackie Subblies Drury. The cast includes Ricky Ubeda, Ben Cook, Gaby Diaz, Ahmad Simmons and An American in Paris star Robbie Fairchild. Singers for the Broadway run have not yet been confirmed. The reason Illinoise is scrambling to transfer so quickly is that the cutoff date for Tony Awards eligibility this year is April 25. Since the St. James Theatre is occupied by the Spamalot revival through April 7, Illinoise will have very almost no time to adjust to its new venue. In a highly unusual move, it will open cold on its first performance, with no previews on Broadway at all. 

An Enemy of the People portrays one man's struggle to spread the truth about deadly pollution. Last night on Broadway, in a chaotic example of life imitating art, real-life climate activists literally stopped the show: Three protesters, one by one, stood up and interrupted the play with speeches of their own, leaving the actors and the audience rattled. I was there, and I was stunned. Truth be told, I didn't know what to believe. It was, if nothing else, a tremendous moment of theater. I later talked at some length with one of the protesters, Nate Smith. I'll get to that part soon—but first, some background. Henrik Ibsen's 1882 social drama An Enemy of the People centers on Dr. Thomas Stockmann, who discovers that the spa water in his small resort town is teeming with potentially fatal bacteria. Since the local economy depends on spa tourism, no one wants to believe him. The play's Broadway revival, adapted by Amy Herzog and directed by Sam Gold, stars Succession's Jeremy Strong as Stockmann and The Sopranos's Michael Imperioli as his bother, the town's mayor. The production is a hit: It grossed more than $1 million last week, and has been selling out the small Circle in the Square Theatre.  Photograph: Courtesy Emilio MadridSam Gold, Michael Imperioli, Jeremy Strong and Amy Herzog Last night was a press performance, so a lot of critics—including me—were in attendance. The production doesn't open until Monday, so I won't review it here. All you need to know is that, coming

Producers of Stranger Things: The First Shadow, an onstage offshoot of Netflix's cultural phenomenon, have just taken another step toward bringing this monster hit to Broadway. Back in December, when the massive theatrical epic opened in London's West End, the show was already dropping hints about an upcoming transatlantic transfer. Now the website BroadwayWorld reports that the production has posted an Equity casting notice for actors and stage managers, and will hold principal auditions in New York City next week, and video submissions are already being accepted for Equity actors and stage managers. (It is unclear whether any of the show's London cast, which includes many teenagers along with Oklahoma!'s Patrick Vaill, will be in the Broadway version.) No official announcement has been made yet, but the casting notice refers to a "production in 2025."  Photo: Courtesy Manuel HarlanLouis McCartney (Henry Creel) In the tradition of Harry Potter and the Cursed Child, Stranger Things: The First Shadow does not reproduce a preexisting Stranger Things story onstage, but expands the Stranger Things universe with a new story set in a different decade. The show, set in 1959, depicts the younger years of central series characters including Joyce Maldonaldo, Jim Hopper, Bob Newby and Dr. Martin Brenner; playwright Kate Trefry—a staff writer for all five seasons of the TV version—has devised the story with series creators Matt and Ross Duffer and Cursed Child playwright Jack Thorne.

Denzel Washington and Jake Gyllenhaal will return to Broadway in a new production of William Shakespeare's racially fraught tragedy Othello, producer Brian Anthony Moreland announced today. The production, planned for Spring 2025, will be directed by the prolific Kenny Leon (Topdog/Underdog), who has previously directed Washington on Broadway in Fences and A Raisin in the Sun.  In Shakespeare's fast-paced tale of jealousy and misplaced trust, written circa 1603, the villainous Iago preys on the insecurities of the Moorish war hero Othello—who has scandalously married a white woman, Desdemona—with false aspersions of infidelity. Casting for the role of Desdemona has not yet been announced. This production of Othello will be the play's 23rd time on Broadway, but the first since the 1982 version with James Earl Jones, Christopher Plummer and Dianne Wiest. Its most recent Off Broadway staging was at New York Theatre Workshop in 2016, with David Oyelowo, Daniel Craig and Rachel Brosnahan.  In addition to his two plays with Leon, Washington has previously appeared on Broadway in The Iceman Cometh, Checkmates and 2005's Julius Caesar. Gyllenhaal has starred in Constellations, Sea Wall/A Life and Sunday in the Park with George. Photograph: Courtesy Momodu MansarayJake Gyllenhaal

Hello, Louis! James Monroe Iglehart will star as the raspy jazz titan Louis Armstrong in A Wonderful World: The Louis Armstrong Musical on Broadway this fall, producers of the show announced today. The new musical will begin previews at Studio 54 on October 16, and open officially on November 11. With a book by stage and TV writer Aurin Squire (This Is Us), A Wonderful World divides the story of the iconic trumpeter and singer into four sections, one for each of his wives, and incorporates some of the Great American Songbook standards that Armstrong helped make famous. Expect classics like the title song and “It Don’t Mean A Thing It Ain’t Got That Swing”—with perhaps a lean toward songs that are already in the public domain, such as  “I Can’t Give You Anything But Love, Baby."  Iglehart, who won a Tony for his performance as the Genie in Aladdin and currently plays King Arthur in Spamalot, earned strong reviews as Satchmo in trial runs of the show in New Orleans and Chicago last year. Director Christopher Renshaw is credited, with Andrew Delaplaine, as the show's co-conceiver; the other members of the cast and creative team have not yet been confirmed.  Tickets for A Wonderful World are scheduled to go on sale in the next few weeks. Meanwhile, you can track the show on its new website or on Instagram, Facebook or X.  Photograph: Courtesy Jeremy DanielA Wonderful World: The Louis Armstrong Musical  

That faint rumbling is the sound of a giant beginning to stir from his restless slumber. In 2005, Austin Pendleton's Orson's Shadow was the sleeper hit of the Off Broadway season, running for nearly 350 performances at the West Village's Barrow Street Theatre. The play takes a backstage look at a 1960 production of Eugène Ionesco’s antifascist allegory Rhinoceros starring Sir Laurence Olivier, who was then in the process of leaving his wife, Vivien Leigh, for the younger and more stable Joan Plowright. Directing Olivier is Orson Welles, who created Citizen Kane at the age of 25 and lived in umbrage ever after, all but banished from Hollywood circles. As the drama critic Ken Tynan observes in Pendleton's play: “Once one is called a living genius, one only exists to disappoint." That excellent production of Orson's Shadow, directed by David Cromer, had premiered at Chicago's Steppenwolf Theatre several years earlier with much of the same cast. Now, to mark the show's 25th anniversary, Pendleton is going back to the Welles to draw more drama from the story of an artist in exile: Orson's Shadow will return to New York at Theater for the New City from March 14 through March 31, in a new version directed by the playwright himself. This Shadow is cast with Brad Fryman as Welles, as well as Ryan Tramont, Patrick Hamilton, Natalie Menna, Kim Taff and Luke Hofmaier. The 82-year-old Pendleton is a treasure of American theater whose work in multiple fields earned him a Special Citation f

“Let Me Tell You” is a series of columns from our expert editors about NYC living, including the best things to do, where to eat and drink, and what to see at the theater. They are published every week. Last time, Theater Editor and Critic Adam Feldman argued that Broadway in April is too damn crowded. Club Shortbus: An Immersive Xperience ends with a bang.  And by bang, yes, I mean sex. The act of sex, not the acting of it. The bang in Club Shortbus is not stage sex—though there’s some of that, too—but actual, bodily, skin-on-skin sex, in pairs and in groups, in corners and in full view. The first part of the evening is a play with songs, acted in the round with interludes of cabaret, burlesque and live erotic performance; and when that’s over, audience members are invited to stick around, get undressed and get it on. It’s a pop-up theater event cum sex party, both puns intended. This approach, though unorthodox by the standards of both theater and orgies, is appropriate to the show’s source: The 2006 cult film Shortbus, written and directed by John Cameron Mitchell (Hedwig and the Angry Inch)—an exploration of sexual honesty that memorably includes several scenes of hardcore sex. The movie’s multiple characters converge at a polymorphously perverse club called Shortbus, where they are free to leave their hang-ups at the door.  It was through a post on Mitchell’s Instagram account a few weeks ago that I first learned of the monthly live production Club Shortbus, which was to

Diamonds are not forever after all. Producers of A Beautiful Noise, The Neil Diamond Musical announced today that the show, which has been playing on Broadway since November 2022, will end its run at the Broadhurst Theatre on June 30. At that time, it will have played 657 regular performances plus 35 previews—a thoroughly respectable tally.  As written by biodrama specialist Anthony McCarten (Bohemian Rhapsody), A Beautiful Noise imagines two versions of the singer: a younger one rising through the music industry, and an older one reflecting on his life with help from a therapist. The former role, originated by Will Swenson, is now played by 2015 American Idol winner Nick Fradiani; original cast member Mark Jacobi still plays the latter. The show gives fans of Diamond's catalog plenty to sing about. "A Beautiful Noise extracts as many pop gems as it can from the Diamond mine," we wrote in our 2022 review of the show. "From his early breakthrough as the writer of 'I’m a Believer' for the Monkees to more than two dozen of his later hits (such as 'Cracklin’ Rosie,' 'Song Sung Blue' and 'America, though perhaps understandably not 'Girl, You’ll Be a Woman Soon'), the show makes its subject’s oeuvre the central focus of attraction and investigation. His most enduring hit, 'Sweet Caroline,' is prominently featured as both the Act I finale and in a final send-’em-out-humming reprise after the curtain call, at which the audience is encouraged to chant in response ('So good! So good!