Theatrely's Off-Broadway review of The Gardens of Anuncia at Lincoln Center Theatre by Michael John LaChiusa and Graciela Daniele in New York City.

Theatrely's Off-Broadway review of Mind Mangler: A Night of Tragic Illusion from Mischief Theatre starring Henry Lewis and Jonathan Sayer now in performance at New World Stages in New York City.

Theatrely's Broadway review of Harmony The Musical by Barry Manilow and Bruce Sussman which opened tonight at the Barrymore Theatre in New York City.

Playwright Samuel Baum discusses his work with his play The Engagement Party at the Geffen Playhouse in Los Angeles, California.

Theatrely's Broadway review of Purlie Victorious by Ossie Davis and starring Leslie Odom, Jr. and Kara Young, directed by Kenny Leon.

Theatrely's Off-Broadway review of Infinite Life by Annie Baker at Atlantic Stage in New York City.

Theatrely's Off-Broadway review of A Eulogy For Roman by Brendan George, now in performance at 59E59 in New York City.

Theatrely's review of the Immersive Great Gatsby currently playing in New York City at the Park Central Hotel.

Theatrely's Off-Broadway review of The Doctor at the Park Avenue Armory by Robert Icke and starring Juliet Stevenson.

Theatrely's Broadway review of Grey House by Levi Holloway directed by Joe Mantello now in performance at the Lycuem Theatre in New York City. The play stars Laurie Metcalf, Paul Sparks, Tatiana Maslany, Sophia Anne Caruso, and Millicent Simmonds

Theatrely's Off-Broadway review of King James by Rajiv Joseph and directed by Kenny Leon, starring Glenn Davis and Chris Perfetti.

Theatrely's Broadway review of The Sign in Sidney Brustein's Window at the James Earl Jones Theatre starring Oscar Isaac and Rachel Brosnahan and written by Lorraine Hansberry.

Leo Reich: Literally Who Cares?! is 70 uproarious minutes of Gen-Z self-flagellation, a hilarious tour through all the doubt and self-loathing writhing beneath the seeming confidence of Reich’s surface narcissism.

The Broadway star’s new concert is set for January 28 and 30 at the Midnight Theatre. 

Theatrely's Broadway review of Ain't No Mo' by Jordan E. Cooper and directed by Stevie Walker-Webb now playing at the Belasco Theatre in New York City.

It’s a thrilling start which suggests a fright-tastic, horror theater approach to Charles Dickens’s oft-theatricalized 1843 novella. Only for 30 or so spine-tingling minutes does this new adaptation, co-conceived by director Michael Arden and scenic/costume designer Dane Laffrey, live up to that promise.

Theatrely's Broadway review of Mike Birbiglia’s The Old Man and the Pool which is now in performance at Lincoln Center's Vivian Beaumont Theater on Broadway in New York City.

Theatrely's Broadway review of Martyna Major's Cost of Living, directed by Jo Bonney. The play features Gregg Mozgala, Katy Sullivan, Kara Young, and David Zayas.

Theatrely's review of Sing Street at the Huntington Theatre Company in Boston. Directed by Rebecca Taichman and choreographed by Sonya Tayeh, the musical is written by Enda Walsh, Gary Clark, and John Carney.

The musical adaptation by Asher Muldoon is currently playing Off-Broadway at the Irish Repertory Theatre.

Theatrely's Broadway review of Into The Woods by Stephen Sondheim which is now open at the St. James Theatre in New York City. The cast includes Patina Miller, Sara Bareilles, Brian d'Arcy James, Julia Lester, Gavin Creel, and more!

Theatrely's Off-Broadway review of Robert Icke's adaptation of Hamlet starring Alex Lawther now in performance at the Park Avenue Armory.

Theatrely's Off-Broadway review of Americano at New World Stages.

Theatrely's Broadway Review of A Strange Loop by Michael R. Jackson at the Lyceum Theatre in New York City. Directed by Stephen Brackett, the show features Jaquel Spivey, L Morgan Lee, James Jackson, Jr., John-Michael Lyles, John-Andrew Morrison, Jason Veasey, and Antwayn Hopper.

Theatrely's Broadway review of ThorntonWilder's The Skin of Our Teeth at the Vivian Beaumont Theater by way of Lincoln Center Theater in New York City. This revival is directed by Lileana Blain-Cruz who makes her Broadway debut.

Theatrely's Off-Broadway review of Islander by Stewart Melton and Finn Anderson which is now in performance at Playhouse 46 at St. Luke's in New York City. Directed by Amy Draper, the show features Kirsty Findlay and Bethany Tennick.

An immersive production throughout the East Village, Chasing Andy Warhol is presented by Bated Breath Theatre Company. The show is inspired the artist's life, following his childhood, his career, and his legacy.

The Broadway League began releasing gross numbers again in March, allowing fans and industry insiders to again pore over the numbers and theorize on which shows’ futures looked bright—and which might be headed for closing.

Theatrely's review of Jane Anger by Talene Monahon and directed by Jess Chayes at the New Ohio Theatre in New York City. The company includes Michael Urie, Amelia Workman, Ryan Spahn, Talene Monahon.

Theatrely's review of sandblasted by Charly Evon Simpson, directed by Summer L. Williams at the Vineyard Theatre and WP Theater in New York City. The play features Rolonda Watts, Andy Lucien, Brittany Bellizeare, and Marinda Anderson.

Theatrely's review of the New York premiere of Hansol Jung's Wolf Play from Ma-Yi Theater Company and Soho Rep. The cast features Esco Jouléy as Ash, Brandon Mendez Homer as Ryan, Aubie Merrylees as Peter, Nicole Villamil as Robin, and Mitchell Winter as Wolf.

Theatrely's review of Joshua Harmon's Prayer For The French Republic which is now in performance Off Broadway at New York City Center - Stage I from Manhattan Theatre Club. Directed by David Cromer, the cast features Betsy Aidem, Yair Ben-Dor, Francis Benhamou, Ari Brand, Pierre Epstein, Peyton Lusk, Molly Ranson, Nancy Robinette, Jeff Seymour, Kenneth Tigar, and Richard Topol.

Theatrely's review of Robert O'Hara new adaptation of Long Day's Journey Into Night originally by Eugene O'Neill now playing at the Minetta Lane Theatre. The cast includes Bill Camp, Elizabeth Marvel, Ato Blankson-Wood, and Jason Bowen.

A broadway review of Harry Potter and the Cursed Child now playing at the Lyric Theatre in New York City. Since its West End debut in 2016, Harry Potter and the Cursed Child has attracted intense fan interest around its central relationship. The close bond between Harry Potter’s son Albus and Draco Malfoy’s son Scorpius forms the emotional core of Jack Thorne’s play, which follows the pair’s doomed effort to “set history right” by stealing a time turner and saving Cedric Diggory’s life nineteen years in the past. (It goes wrong, of course, and complications ensue.) Thorne’s original text, co-conceived with director John Tiffany and J.K. Rowling (more on her later) does not demand Albus and Scorpius’ bond be played as a burgeoning romance. But Tiffany and original co-stars Sam Clemmett and Anthony Boyle certainly leaned into that reading in the play’s first iteration, playing the duo’s journey as a love story even when the text sometimes insisted otherwise. Choreographer Steven Hoggett even crafted a mournful, romantic “Staircase Ballet” for a scene where the two are forced apart. 

Assassins is now in performance at Classic Stage Company in New York City. A review by Joey Sims.

Scenic designer Dan Daly has recreated The Huron Club in painstaking detail, carefully utilizing elements of the Playhouse building harken back to its 1929 form along the way, while also throwing in some contemporary flourishes as needed. Dan Daly guided Theatrely through his designs for Tammany Hall to give us a taste of this immersive experience.

Kristina Wong, Sweatshop Overlord is an exuberant release of a show, a total joy to behold. Wong unfolds her tale of a ragtag group of quarantined volunteers who sewed thousands of masks with boundless, chaotic energy. But the show, which opened tonight at New York Theatre Workshop, also never loses sight of an essential fact: none of this should have been necessary. 

The Broadway League recently announced they would not be releasing grosses for the upcoming Broadway season. Contributing writer Joey Sims makes his case for why they are vital for the industry in his first Op-Ed for Theatrely.