If you missed the avant-garde theater scene in New York City during the 1960s and ’70s, The Kick Inside serves as a time capsule, catapulting its audiences back to the heyday of experimental theater. Directed with a steady hand by Nicolás Noreña, this collection of 12 vignettes by a range of playwrights, from Richard Foreman to Penny Arcade, takes its viewers on a madcap linguistic, visual, and physical journey to that era, with an occasional modern touch to the retro material.
Anthropomorphism is at the center of The Dog Show: Come. Sit. Stay., David Javerbaum’s cleverly conceived work about dogs and their views of the world. Directed by Richard Israel, it’s playing at the Triad, the original home of Celebrity Autobiography. The Dog Show adopts a similar format as that hit: actors reading from scripts, mostly at stands. But it’s no less enjoyable for that: a winning cast of four helps the unflashy production breed satisfaction for its audience.
Though advertised as “a new play,” Matthew Freeman’s The Ask, now at Theater 555, premiered in New York City more than two years ago. In this drama of ideas, two strong-willed strangers clash in a mating dance essential to American charities: the solicitation of wealthy donors by career fund-raisers. Back in 2024, The Ask--expertly directed by Jessi D. Hill--packed the same wallop it does now (and even more, thanks to the superb performance of Betsy Aidem as Greta); but the original run was brief and so far Off-Broadway that it failed to create the splash that might have been expected. Now, in a more prominent venue, again directed by Hill, this substantial intermissionless drama is likely to make waves and, in due course, be seen around the country.
As a portrait of two relationships imploding when the couples are confined together, Kate Vozella’s Machine Learning provides 90 minutes of fiercely acted, propulsive drama. As a portrait of AI’s expanding influence in our lives, however, it underwhelms.
Life for blacks in the antebellum South, during the Civil War, and for generations thereafter consisted of a confluence of injustices at the intersection of class, race, and gender. Todrick Hall's complex new musical Midnight grapples with those injustices by reimagining what it might be like if the oppressors became the oppressed.
As a portrait of two relationships imploding when the couples are confined together, Kate Vozella’s Machine Learning provides 90 minutes of fiercely acted, propulsive drama. As a portrait of AI’s expanding influence in our lives, however, it underwhelms.
The Bad Daters, by Ireland-born New Yorker Derek Murphy, arrives Off Broadway with a winning blend of sharp Irish wit and disarming emotional honesty, transforming a premise about romantic misfires into something unexpectedly tender. Under the deft direction of Colin Summers, and buoyed by finely tuned performances from Kate Arrington and Shane McNaughton, this U.S. premiere proves as affecting as it is entertaining—a love story that earns its poignancy without sacrificing its bite.
