Discover the best reviewed Broadway shows by top critics on BroadwayWorld.
Are the critics screaming over the first play of the 2026/27 Broadway season? Paranormal Activity officially opened tonight at the August Wilson Theatre. The new play is written by Levi Holloway and directed by Felix Barrett. Let's see what the critics are saying...
The World Premiere of benevolent by Sophie McIntosh, with Good Apples Collective, is officially open Off-Broadway. See what the critics are saying about the production in Broadwayworld's Review Roundup.
The Public Theater's Free Shakespeare in the Park is continuing with THE WINTER’S TALE at The Delacorte Theater in Central Park.The production will run through Sunday, August 23. Read the reviews here!
The reviews are in for Royal Shakespeare Company's world premiere of George R. R. Martin’s Game of Thrones: The Mad King, a new play based on novels by George R. R. Martin. Read the reviews here!
59E59 Theaters is presenting the world premiere of The Vessel, written by Brendan George. See what the critics are saying about the production in BroadwayWorld's REview Roundup.
There's no better way to introduce your family to the wonders of live theatre than with the magic, the mystery, the memory of Cats. What began as a musical about cats after Andrew Lloyd Webber picked up a book of poems in an airport bookshop has become one of the longest running shows in Broadway's history. Winner of seven Tony Awards including Best Musical, Cats features 20 of Andrew Lloyd Webber's timeless melodies, including the hit song 'Memory.' What did the critics think of Drew McOnie's new production?
HOCUS POCUSED is an excellent new show with chills and laughs!
What did our critic think of DISNEY'S THE LION KING at Place Des Arts?
The satirical musical of what should be a corporate myth, that someone with no experience can rise to the top of the corporate ladder, HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING, is presented in classic Broadway style at Hayes Theatre.
Silo Theatre’s Auckland production of Job, playing at Q Theatre’s Loft, is a superb rendering of the Broadway hit — a two-hander that earns every ounce of its reputation. Walking in tired on opening night, I fully expected to coast through the evening. Instead, I found myself pinned to my seat, unwilling to miss a beat of this psychological thriller. The sheer ingenuity of the writing keeps you leaning in, compelled and ‘thinkingly’ disoriented in equal measure, with no real sense of where the story is headed until it’s already arrived. NOTE R16 Rating: coarse language and references to distressing adult themes, along with the use of a weapon on stage, loud sound effects, haze, and bright and strobe lighting.
Samuel Yakura and band +353 bring a heartfelt, musically rich examination of grief, first-born duty, and Nigerian fatherhood to Project Arts Centre.
There is no doubt that Östgötateatern’s production of *Mrs. Doubtfire* will be loved just as much as the movie. Funny, heartwarming, and touching. A wonderful family musical. As the curtain falls, I have a happy tear in the corner of my eye and a big smile on my face.
'Time of Your Life' is a memorable tune. It was the graduation song, the goodbye song, the song that seemed to be everywhere in the late 1990s and early 2000s.
Come From Away is the musical we need right now. As political tensions mount, we need to remember the kindness shown by our neighbor Canada during a most critical time for our United States. Director Rick Bumgardner tells us the “spine” of this show is the word “Goodwill.” We would do well to remember the lessons of 9/11, as well as the Golden Rule - Do unto others as you would have them do unto you.
Theatre Lovett and the Abbey Theatre present a stunningly inventive, circus-infused adaptation of Kafka’s final anecdote at Dublin Fringe.
This is a production that will make you laugh and cry, that reminds us of both the worst parts of being human and the best most inspiring parts of being human. Come From Away at Theatre Harrisburg is a show you do not want to miss.
Director, Ben Galosi keeps the laughs coming in this 90 minute intermission-free show. The humor is derived not only from the characters’ excessively bleeding hearts, but also hilariously random moments of aggressive chaos and mayhem. A special salute to the EPAC stage crew who have a lot of cleaning up to do at the conclusion of each performance.
What did our critic think of JASON CAMPBELL at Rialto Community Theatre?
I never thought I would have such a good time watching five women talk about their sexual organs, but I absolutely understood every moment as if I had been lucky enough to have been assigned female at birth.
A rabbit, a refugee and a racist get stuck in a lift... That sounds like the start of a bad joke but for high rise residents Lauren, Aaliyah and Pat, it’s a night they’ll never forget.
One Hundred Voices is an interactive, audio-guided installation, bringing creative insight into living in the care system. It serves as an artistic act of recognition and celebration of the one hundred testimonies recorded through the Caring Scotland project.
A moving, sharply observed Dublin drama that connects women’s choices across three generations with compelling performances and real emotional weight.
Director Gregg T. Daniel conducts a muscular cast delivering a production that is as fulfilling as it is shattering.
VANYA and SONIA and MASHA and SPIKE is a delightful romp with equal measures of nostalgia and hope for the future. With rapid-fire dialogue and pitch-perfect timing, the cast bring the script by Christopher Durang to life.
Elephant in the Womb somehow strikes a perfect balance between inappropriate humor, social commentary, and tasteful fourth wall breaking that will leave you feeling uncomfortable, pensive, and warm and fuzzy all at once.
Scenekvelder’s new Les Misérables trusts the score without treating it as a museum piece. Dark, modern and deeply felt, it finds new images for the story while remaining faithful to the form that gives it power. Les Misérables is so familiar that a new production can easily become either a careful reproduction or an argument with its own material. Guy Unsworth’s staging for Scenekvelder finds the more rewarding path between them. It honours the images and emotions audiences bring to the theatre, yet places them in a visual world with a force and logic of its own. The result feels timeless because it understands the past rather than trying to escape it.
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