Theatrely's review of On Sugarland currently in performance at New York Theatre Workshop by Aleshea Harris, directed by Whitney White, and choreography by Raja Feather Kelly. The cast of On Sugarland will include Stephanie Berry, Thomas Walter Booker, Xavier Scott Evans, Mister Fitzgerald, Josh Fulton, Charisma Glasper, Kai Heath, Shemar Yanick Jonas, Billy Eugene Jones, Kiki Layne, Mariyea, Lizan Mitchell, Adeola Role and Jacob Daniel Smith.

Theatrely's review of Out of Time, a collection of monologues by Asian American playwrights performed by an ensemble of veteran Asian-American actors which is now in performance at The Public Theater. Conceived and directed by Les Waters, the monologues are written by Jaclyn Backhaus, Sam Chanse, Mia Chung, Naomi Iizuka, and Anna Ouyang Moench.

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 English by Sanaz Toossi, directed by Knud Adams from Atlantic Theater Company and Roundabout Theatre Company. English features Tala Ashe, Ava Lalezarzadeh, Pooya Mohseni, Marjan Neshat, and Hadi Tabbal.

Theatrely's review of Power of Sail by Paul Grellong now at the Geffen Playhouse in Los Angeles, California. Bryan Cranston stars in the new drama alongside Amy Brenneman, Hugo Armstrong, Donna Simone Johnson, Tedra Millan, Seth Numrich, and Brandon Scott. The production is directed by Weyni Mengesha.

Theatrely's review of Suzan-Lori Parks' White Noise, which is now in performance at Studio Theatre in Washington DC.

Theatrely's review of Black No More from The New Group. This new musical, inspired by George S. Schuyler’s 1931 novel, features Book by John Ridley; Lyrics by Tariq “Black Thought” Trotter; Music by Tariq Trotter, Anthony Tidd, James Poyser and Daryl Waters; Choreography by Bill T. Jones; and Direction by Scott Elliott. The cast features Jennifer Damiano, Brandon Victor Dixon, Tamika Lawrence, Howard McGillin, Ephraim Sykes, Tariq “Black Thought” Trotter, and Lillias White to name a few.

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 Space Dogs, a new musical from MCC Theater written and starring Van Hughes and Nick Blaemire. Directed by Ellie Heyman, the musical about Laika the dog who traveled to space is choreographed by Darrell Grand Moultrie.

Theatrely's Broadway review for The Music Man starring Hugh Jackman and Sutton Foster, directed by four-time Tony Award winner Jerry Zaks, with choreography by Tony Award winner Warren Carlyle. The book, music, and lyrics are penned by Meredith Willson. The musical is currently playing at the Winter Garden Theatre in New York City.

Theatrely's review by Juan Michael Porter of Tambo & Bones, a new play at Playwrights Horizons by Dave Harris. The performance features Brendan Dalton, W. Tré Davis, Tyler Fauntleroy, and Dean Linnard; it is directed by Taylor Reynolds.

Theatrely's review of Clare Barron's Shhhh, which is now in performance at Atlantic Stage 2 in New York City. In addition to Clare Barron, Shhhh features Janice Amaya, Annie Fang, Nina Grollman, Greg Keller, and Constance Shulman.

Theatrely's review of The Tap Dance Kid, the first of this year's Encores! season at New York City Center. With music by Henry Krieger and Robert Lorick, the production is directed by Kenny Leon and choreographed by Jared Grimes. The cast includes Alexander Bello, Joshua Henry, Trevor Jackson, Shahadi Wright Joseph, and more.

Theatrely's Broadway review of MJ The Musical, a bio-jukebox musical about Michael Jackson now in performance at the Neil Simon Theatre in New York City. Christopher Wheeldon directs and choreograph the musical with a book by Lynn Nottage starring Myles Frost.

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 Taylor Mac's new opera The Hang which is now in performance at Here in New York City.

Theatrely's review of Lynn Nottage and Ricky Ian Gordon's new opera Intimate Apparel which recently opened at Lincoln Center's Mitzi E. Newhouse Theatre, directed by Bartlett Sher.

Theatrely's Broadway review of Dominique Morisseau's Skeleton Crew now in performance at the Samuel J. Friedman Theatre on West 47th Street in New York City. Directed by Ruben Santiago-Hudson, the play stars Chanté Adams, Joshua Boone, Brandon J. Dirden, Adesola Osakalumi, and Phylicia Rashad.

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.

Theatrely's review of the North American premiere of Everybody's Talking About Jamie now in Los Angeles at the Ahmanson Theatre starring Layton Williams and Roy Haylock aka Bianca Del Rio.

We sent one of our critics to review the new national tour of Oklahoma! while it visited Chicago to see how the Tony-winning Broadway revival fares on the road.

Jeanna de Waal’s debut cabaret show, performed Monday evening at Feinstein’s/54 Below, perfectly captured the spirit of a performer excited for the future and “a princess moving on'' after the hasty closing of Diana. Packed with superfans and sheep sweaters, the venue was filled with giddy looks between tables and a sense of wonder for what was about to unfold. Each song was met with a rumbling of whispers ringing out before lyrics could even begin, as many opted to quickly pull out their phones, set to record and share the drama of it all. de Waal had been at the center of the Diana universe for years, through the San Diego production, two rounds of Broadway previews, a Netflix recording under severe COVID precautions, and a run that would ultimately play 34 performances before closing on December 19, 2021. Years in the making, de Waal’s performance as the people’s princess turned heads while her solo show continued to win hearts.

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. 

This past August, the fall of Afghanistan was witnessed by people across the globe, many of us watching news coverage on our phone screens. We could hold those illuminating rectangles in the palm of our hand, watching horrors unfold. With one click, we could also make the horrors disappear. The conversion of refugees from living people to just pixels on a screen can impact how Afghan refugees are characterized in the news. During September of this year, one AP News report described “two tiny dots dropping from [a] plane,” at the Kabul airport. For journalists and storytellers, it’s an impossible task to narrate asylum seekers in real time. But weren’t those “two dots” real people? Doesn’t an abstract representation of an atrocity hide the reality of the people experiencing it?Studio Theatre’s new show Flight doesn’t resolve these questions as much as it dives deeper into them with immersive storytelling and incredible detail. Instead of running away from the small images that often dominate refugee news coverage, the show embraces them, creating countless dioramas of refugees in miniature. Flight proves that small images aren’t necessarily diminutive in their impact. In fact, the small images in Flight conjure a different sort of power, one uniquely theatrical and purposefully abstract. 

Theatrely's Broadway review of Flying Over Sunset at Lincoln Center's Vivian Beaumont Theater. The Doors of Perception is an anomaly: the hyper-literate Aldous Huxley’s 1954 book about his experiences with mescaline, it married his breathtaking combination of crystal clear sociopolitics to a still-unmatched first person account of being under the influence of psychedelics. Equally bizarre was Clare Booth Luce, a staunch Republican congresswoman and ambassador to Italy whose 1936 play, The Women, famously featured no men and gave rich insight into the lives of Manhattan socialites. And then there’s Cary Grant, one of the handsomest Hollywood leading men who mastered the art of screwball while dodging lifelong gay allegations created by his living with another actor.

Dear Evan Hansen wants the humorous but scathing energy that Mike Lew’s Teenage Dick has in spades. The similarities between Hansen and Teenage Dick run deep. Both shows follow awkward, lonely teenage guys trying to get through high school. Both protagonists gain incredible social power through the force of their storytelling. They use this power to woo their popular love interests, and excuse their gaslighting because of their disabilities. And in the end, everything comes crashing down because of dangerous lies exacerbated by social media. Both shows have had large cultural moments this year. Hansen’s film adaptation premiered in movie theaters this past September and re-opens on Broadway this weekend. Teenage Dick, which previously ran off-Broadway in 2018, is now touring through some of the most well-known regional theatres in America. Having already played at Woolly Mammoth Theatre Company this fall, the show is now running at the Huntington Theatre Company and will head over to Pasadena Playhouse in February.

The 50th anniversary production of Company is not golden, as such anniversaries are, but rather an incandescent neon under Marianne Elliott’s ingenious direction. Though, thanks to the pandemic, it actually opens 51 years after the original landmark production. This lush, expensive-looking production arrives on Broadway following an acclaimed West End revival which swapped its perennially single protagonist from Bobby to Bobbie, creating an array of fascinating changes to its gender dynamics.