Enter a complex query into an AI chatbot, and the computer program will ruminate. Employing a proprietary algorithm, actions will be taken, decisions will be explained, and the sometimes unexpected results will arrive in due course, with little regard as to whether a satisfying answer is justification for the steps taken to reach it. This process is the metaphorical framework for Andrew Stein’s new and disturbing think piece, Disruption. Set in a New York defined more by its data sets than its landmarks, three couples provide the input for a calculating friend who employs an omniscient technology to rewire all of their lives.
Comedian and stroke survivor Cat Cohen named her solo show Broad Strokes for the puns, but the titular phrase may be more appropriate in another, unintended sense. Cohen tells her story in such broad strokes that, while she succeeds in making her serious medical condition funny, the lack of depth and detail makes it seem not that serious.
What if men suddenly disappeared from the planet? Melissa Maney’s darkly comic Hungry Women, directed by Daniella Caggiano, imaginatively explores that provocative question across two centuries, using absurdism, macabre humor, and a feminist lens to examine how women might reconstruct society—and what they might ultimately discover they are most hungry for.
For its third mainstage production under new owners A24, Cherry Lane Theatre brings in a London success—Benedict Lombe’s romantic two-hander Shifters, directed by Lynette Linton—with some boldface names on its U.S. producing team, including actors Idris Elba and Danai Gurira and rapper Little Simz.
After spending decades bringing history’s greatest composers to vivid theatrical life, Hershey Felder turns his storytelling gifts inward in Hershey Felder: The Piano and Me. The result is an intimate and deeply affecting autobiographical portrait that reveals how music shaped not only an extraordinary career but also an extraordinary life.
Comedian and stroke survivor Cat Cohen named her solo show Broad Strokes for the puns, but the titular phrase may be more appropriate in another, unintended sense. Cohen tells her story in such broad strokes that, while she succeeds in making her serious medical condition funny, the lack of depth and detail makes it seem not that serious.
In Can I Be Frank?, comedian Morgan Bassichis resurrects the memory of pioneering gay performer Frank Maya with a blend of irreverent wit, original songs, and aching vulnerability. Written by Bassichis, and directed by recent Tony winner Sam Pinkleton, this solo show becomes both séance and self-portrait, blurring the lines between tribute and personal reckoning.
