Broadway Show Reviews & Critics' Ratings

“That’s life”, sings Frank Sinatra over the sound system, in just one of the many hits from his back catalogue that makes up the soundtrack to In Other Words. And he has a point: this understated drama about the slow progress of Alzheimer’s disease, which returns to the Arcola after an acclaimed 2023 run (and an award-winning French translation), is a heartbreaking paean to the parts of life that we can’t avoid.

After many years in the 12-step programme of Alcoholics Anonymous, James agrees to become the sponsor of newcomer Luka. On the cusp of Step 5, their conversations must turn to confessionals, with progress hinging on Luka revealing secrets that could lead back to alcohol. But it’s clear that James also has dangerous truths in his past, truths that threaten the trust on which both their recoveries depend.

Plays like The Fifth Step don't come around often. Those whose layered philosophical exoskeleton props up their own dramatic contradictions in quietly superb theatre. At its core, though less pure black comedy and more complex introspective drama coated in dark irony than what you’d expect from David Ireland, it has that delicious push-and-pull that only Ireland can write. It’s a potluck of themes. Alcoholism, recovery, resentment, masculinity, spirituality, family, class, what-have-you populate a play that’s as tense as it is caustic.

When mezzo Aigul Akhmetshina stepped on stage in the Met’s new production of CARMEN, back on New Year’s Eve of 2023, it was hard to imagine her in any other role because of the way she completely inhabited it. Would we ever be able to watch her in anything else, despite credits from other houses that ran from Elisabetta in MARIA STUARDA to Charlotte in WERTHER and, yes, Rosina in IL BARBIERE DI SIVIGLIA? Now that she made her house role debut as Rosina at the Met, this past Friday, any concerns seem moot. She was terrific.

There is universal and personal anguish for all of us who can remember the frightening AIDS epidemic in the 80s. No one was left unscathed, and many families and friends were devastated with a feeling of fear and uncertainty about the enduring impact it would have for future generations.

Sara Alessia Giannini, a 26-year-old modern dancer from Bari, Italy, has established herself as an prominent performer in New York City’s dance scene. With a foundation rooted in European training and a clear artistic identity, Alessia is earning attention through lead roles and solo performances in both artistic and culturally significant productions across the city.

'WHAT THE END WILL BE' has a lot to unpack because it deals with three generations of men and the demons they constantly fight interfaced with the real-life societal issues they are currently dealing with.

​​​​​​​大阪・関西万博：2025年4月13日から10月13日までの半年間、大阪・夢洲にて開催され、”いのち輝く未来社会のデザイン”をテーマに史上最多の160以上の国と地域、企業や国際機関が参加するかつてない規模の国際イベント。最先端テクノロジーの展示に加え、文化・芸術・食などを通して各国の魅力を存分に堪能できる多彩なパビリオンが注目を集めている。さらに、会場全体を舞台に多様なエンターテインメント繰り広げられており、連日話題をよんでいる。

Opera buffa is an ever-popular genre of the art, and more than two centuries after its composition, Rossini's Il barbière di Siviglia remains one this genre's most often staged operas. The music and lyrics are pure genius, but the success of this particular opera comes from an inherent understanding of the comedy within. Annabel Arden's production makes a triumphant return to Glyndebourne because it does just that.

It’s common to hear about people moving to New York City in order to find themselves and start their path. Something not as common? Moving from New York City to a small village in rural Germany. But that’s exactly what the family of Alexis Sakellaris does when he’s only eight years old, and it’s where our story begins.

Incel. As a word, its used as an insult, a harmful label, a warning. But what if the men who once was called the cautioned word started wearing it like a badge of honour and as a way to validate their disturbing behaviour?

Chloe Radcliffe: CHEAT begins with a bang - literally, with Radcliffe telling the audience about the time that she “lived a porn” and had sex with the FedEx delivery driver. It’s a surprising start to the show, but it certainly sets the tone for the show, with Radcliffe revealing a secret that some people keep for the rest of her lives. She’s cheated.

In House of Joy, co-produced by Pratidhwani and Seattle Public Theater, the house is more than just a setting. It listens. It responds. It protects and encourages. It even moves, embodied by the stunning choreography of the guards. These dancers don’t just live in the house. They are the house. This is fantastical escapism at its finest, and with one of the most fitting titles I’ve heard in a long time, the spirit of the house is, quite simply, joy.

Galosi and Burdick are very believable in their characterizations and have more than enough shared chemistry to make the story work fantastically.

Capital Stage continues its 20th Anniversary season with a stark look at the price paid by those who are on the frontlines of the atrocities happening in the world. Unseen, by Mona Mansour, explores what happens to the human psyche when we don’t have the luxury of turning a blind eye to violence and suffering. What happens when we turn into the ones who are unseen?

JC Lee’s 2022 To My Girls continues the tradition of a group of gay guys getting together to trade snarky barbs, renew friendships and uncover hidden grudges.

The halls of Carrollwood did ring with laughter. It was a reminder that whether thou art noble or nerd, there’s always room for poetry—and proton packs.

In 2013 and 2019, Base Entertainment Asia previously presented Andrew Lloyd Webber’s acclaimed musical 'The Phantom of the Opera.' On May 13, 2025, this timeless masterpiece's haunting love story and hypnotizing musicality returned to a packed house in the 2,183-seat The Sands Theatre, Marina Bay Sands.

Chris Grace: As Scarlett Johansson, currently playing at Portland Center Stage, is a delightfully disorienting theatrical experience that defies categorization and expectations.

Portland Playhouse's latest production, August Wilson's Joe Turner's Come and Gone, offers audiences a complex meditation on identity and belonging. As the second play chronologically in Wilson's Century Cycle, this work captures a pivotal moment in African American history during the Great Migration's early days in 1911.