Shelter Inn Place at Theatre Row: A Category-3 Family Comedy Score 94%

Shelter Inn Place at Theatre Row: A Category-3 Family Comedy

Shelter Inn Place is that rare comedy that makes you laugh at a noose and weep over pumpernickel. Henry Feldman’s hurricane-tossed family, led by Mike Roche, Martin Revere, Alyssa Simon, Aaron Lamm, and Haley Zale, reminds us that love frequently arrives disguised as annoyance, and that every generation deserves a turn at the dial. Grab a ticket at Theatre Row before October 4, shelter in place, and let this tender, hilarious storm sweep you away.

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The Hot Sardines at Birdland Score 96%

The Hot Sardines at Birdland

I listened to the Hot Sardines’ new album, Good News, before showing up to Birdland. I have to say— listening to the album with headphones paled in comparison to watching the Hot Sardines live.

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Degenerates Score 98%

Degenerates

Degenerates, by Else Went, is brilliant – devastatingly, stunningly, painfully brilliant.  Went takes male alienation and throws it in a blender. This is the kind of work that throws you back in your seat. She tackles the issue of male loneliness and ‘incel’ culture, in its myriad facets, its origin, it’s heirarchy, its lingo.  Through extensive interviews with young men caught in this world, she has developed a nuanced work of blistering intensity.  It is an impressive, mult-layered piece. The impeccable text and excellent cast make this profoundly moving play an absolute must-see.

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ONE! Score 100%

ONE!

Each night, Jim Rash (NBC’s Community) performs a completely improvised one-man show, playing multiple characters and crafting a made-up premise all based on audience suggestions. It’s a brilliant high-wire act of comedic insanity.

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Sam Fazio: My Broadway at 54 Below Score 92%

Sam Fazio: My Broadway at 54 Below

Warm-voiced, funny, and unashamedly sentimental, Sam Fazio’s My Broadway turns a supper club into a communal memory palace, one show tune at a time. Anchored by Chris White’s luminous piano and John Sutton’s buoyant bass, this is cabaret at its most generous — intimate, swinging, deeply humane, theater history sung by a man who has clearly lived every lyric. Watch for Fazio’s next 54 Below engagement, bring tissues for the ballads and your fullest voice for the choruses, and leave humming, quietly grateful.

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Thomas & Me Score 85%

Thomas & Me

Ellenson as a performer is wholly captivating. The most compelling moments of the show is when he talks directly to the audience. He has his lines preloaded on his iPad and uses the pauses between phrases to emote. It is a wholly original theater experience.

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Human Things Score 70%

Human Things

There is one very, very good reason to see “Human Things” by Joshua Owen..  That would be Victoria Clark.

There are a couple of reasons for this.  The first one being that Clark’s skill as an actor is so refined that she disappears while you watch and leaves her character in her place.  The other reason is that Joshua Owen has given Clark text that is precise and covers substantial ground in a few sentences.

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Arias with a Twist Score 96%

Arias with a Twist

Joey Arias and Basil Twist have returned to the stage on which they debuted this piece, two decades ago.  They were a downtown fixture when “downtown” was truly Downtown, and they remain a unique creative force; visionaries who have a clear sense of self.  When you lead, you don’t fall prey to fads.

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Happy Days Score 85%

Happy Days

In his writing, Samuel Beckett frequently calls upon repetition and monotony; In Happy Days, Beckett explores the way we pass a day, the way moments slip into other moments.

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American Classical Orchestra Turns the Key on Haydn and Beethoven Score 96%

American Classical Orchestra Turns the Key on Haydn and Beethoven

urning the Key provides more than a compelling juxtaposition of Haydn and Beethoven. It demonstrates how wit, faith, fear, and hope coexist within a single musical tradition. Thomas Crawford, the American Classical Orchestra, its chorus, and four distinguished soloists restore the music’s human scale while preserving its sublimity. The ACO’s ongoing Beethoven cycle offers performances that let familiar masterpieces engage, challenge, and console listeners, ultimately revealing new interpretive possibilities.

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