Allison Considine

There’s a constant interplay between humor and hardship, and at times, the tonal shifts can feel jarring and unsettling, raising questions about whether its appropriate to laugh at the subject matter at hand. The play concludes with satisfying forward progress for Josh; the only trouble is that, at two-plus hours, his journey takes too long to get there.

By the end of the play, this critic could’ve used a baseball cap. You Got Older remains a timeless meditation on adulthood in all its messiness, pain, and sometimes humor — and it is well worth seeing.

This moral-dilemma play contains several unexpected twists and turns, including a few that draw audible gasps from the audience at the performance I attended. The lone flaw is that part of Maneesh’s family backstory, the driving force behind his career choices, feels underdeveloped. But this thrilling new play is worth your time — even if you’re a tech employee trying to unplug from that world after work.

Without the help of stronger production elements to deepen Anna’s story, the scenic design can only go so far, as the plot about a struggle for redemption by men is a struggle to invest in. In 2025, a woman conforming to societal expectations and suffering shame for sex work feels discouraging, partly because we’re still living in a world where women lack liberation.

It’s not often that an Academy Award-winning actor takes to the stage — let alone co-writes a play to star in — but Tom Hanks does so with aplomb in This World of Tomorrow. Hanks lends his extraordinary storytelling talent to Bert Allenberry, a scientist from 2089 who travels back in time to the 1939 World’s Fair in Queens, New York.

The cast is an embarrassment of riches, with Shuler Hensley and Ruthie Ann Miles as Mr. and Mrs. Antrobus, Damon Daunno and Amina Faye as their children, and Micaela Diamond as Sabina, the family maid. Not to mention a whole ensemble of incredible vocalists who also playfully portray animals; the woolly mammoth and dinosaur are especially great.

Oratorio for Living Things completely reshapes what a theatre performance can be. Featuring 12 performers and six musicians, composer Heather Christian's immersive musical work is a sweeping aural experience that blends jazz, soul, blues, and gospel. It moves fluidly between the cosmic and the intimate, zooming out to the Big Bang and in to the small moments that make life worth living.

Art has humor, a wonderful cast, and the timeless clash of differing opinions. What’s missing from the script is a clear sense of place and purpose for this friendship. Where did it begin? If a 25-year bond is on the verge of breaking, the audience needs a glimpse of what’s truly at stake.

Tony Award nominee Betsy Wolfe is superb as the headstrong Joy, commanding the stage whether she’s mopping up a spill or soaring through a power ballad. In “A Better Way,” a pivotal number where Joy fights for the patent to her invention, Wolfe brings down the house, earning a mid-show ovation at my performance.

Despite its heady topics, the play is surprisingly funny, and director Warren Adams gently brings the play’s moments of levity to the stage. With its strong performances and nuanced script, Duke & Roya challenges audiences to consider the ways we connect and the risks worth taking for love.

Haddad commands the stage in this solo show, fully holding his own. He’s flirty and fun, and he shares deep insecurities about opening himself up to a romantic partner. The writer/performer is no stranger to vulnerability. In his previous solo shows, including Dark Disabled Stories; Hi, Are You Single?; and Falling For Make Believe, Haddad chronicles his experiences navigating life — and love — in a city that isn’t always built with disabled people in mind.

BOOP! The Musical proves that bringing Betty Boop to life on stage is a worthy endeavor, even if only for the spectacle of it all.

Snook tackles dozens of roles with remarkable aplomb, from a cynical aristocrat to a Cockney maid to the dynamic protagonist and beyond. This is where the cameras come in: the live Snook shares scenes with pre-recorded footage of herself. The camera also captures her performance in real time, portraying her expressive face on large screens suspended above the stage. Almost like a 19th-century portrait.

Tonally, the play dances between comedy and tragedy, with the family matriarch’s battle with the bottle leading the way. Director Trip Cullman navigates this balance with scenes of tearful outbursts working alongside humorous bits. In some scenes, though, the dance feels out of step. And for audience members with alcoholics in the family tree, the play’s comedic treatment may come across as off-putting.

Natalie Margolin’s All Nighter brilliantly captures the frenetic energy of a group of college women sharing space and mining the complexities of friendship — all over tubs of hummus and notes for the psychology exam. It may be the best portrayal of college girls on stage ever.

English begins with a teacher writing the words “English Only” on the whiteboard. These two words set into motion a moving show that wrestles with identity and showcases the chaos and power of communication. In any language, English is a triumph: Sanaz Toossi's Pulitzer Prize-winning play is a compelling exploration of how language shapes who we are and how we navigate the world.

There’s an undeniable energy in firsts and lasts. Swept Away tells the story of the final voyage of a whaling ship bound for the scrapyard, and the maiden voyage of a young crewman setting sail for the first time. It also marks the folk rock band The Avett Brothers' Broadway debut — and the journey is well worth taking.

Delia Ephron’s Left on Tenth has all the hallmarks of a romantic comedy: an urban setting, romantic tension, and perhaps most importantly, adorable dogs. But the play, based on Ephron’s bestselling memoir, may have a greater impact on the page than the stage. And while it would make a charming rom-com film, it doesn’t fully translate to theatre.

For spouses Aisha and Travis, a charming historic home in Aisha’s hometown offers the ideal renovation opportunity when the couple relocate for her new job. The home has good bones — a solid foundation, sound framing, and long-term durability. Likewise, James Ijames’s Good Bones, directed by Saheem Ali, has the framework of a great new play, with nuanced characters and a charged conflict.

The three-act play is 2 hours and 45 minutes long, and the plot lingers too long on tenterhooks for Joan, the estranged sister who has been away from Seaview for over two decades, to return and say her goodbyes. While the unraveling of the mystery surrounding Joan is a real gut punch, Butterworth spends more time anticipating a death than uncovering a family secret.

Six Characters is a dark comedy that subverts expectations and challenges the purpose of theatre. Its non-linear structure and complex themes are difficult to follow, and the play’s length drags, leaving audiences to wonder about its meaning and significance.

Lotfi’s script is beautifully poetic. The characters recall their childhood, from the glow of a neon sign deodorant advertisement outside their apartment window to the tangy taste of orange slices. It was a delight to listen to the memories the siblings had of their upbringing and how their parents’ immigrant experience shaped their lives.

The representation of disabled actors and disabled characters on stage has come a long way in the past decade, but All of Me moves the needle further. The play is laugh-out-loud funny, and it works so well because it doesn’t try to uplift or educate the audience. Instead, it authentically represents the characters and bakes the challenging experience of disability in America into the plot. For example, many of Lucy’s choices, like moving in with Alfonso, hinge on her ability to maintain eligibility for social security disability benefits.

The play works because of the cast’s incredible ability to play both young and old characters, and solemn and funny ones. In particular, Parsons’s humor shines as Carl, a quick-witted genius who holds the family together. One of the play’s throughlines is touch — or rather, the lack of it. Director Tina Landau beautifully incorporates moments of closeness and distance through careful staging.

The band is back together on Broadway. David Adjmi’s Stereophonic had a critically acclaimed, sold-out run off Broadway in fall 2023 at Playwrights Horizons, and now it’s hitting all the right notes at the Golden Theatre.