Author: Robyn Roberts

Southern born, Brooklyn bred. Earned a BS in journalism from The New School. Has written for Condé Nast, Whitewall Magazine, Simon & Schuster, and many big brands and small businesses. From Fashion Week to Broadway, covering the arts and culture scene of New York will always feel like the most important work.

Broadway's Best Capsule Reviews

Review of Liberation

by Robyn Roberts

The James Earl Jones Theatre in New York currently hosts Liberation, a compelling two-timeline story penned by the talented playwright, Bess Wohl, and brought vividly to life under the meticulous direction of Whitney White. This fresh production offers a thoughtful exploration of complex, intergenerational themes, enriched by captivating performances from lead actors Betsy Aidem, Audrey Corsa, Kayla Davion, Susannah Flood, and more fierce femmes with a few gents. With its blend of emotional depth and sharp dialogue, Liberation on Broadway invites us to reconsider notions of freedom, legacy, and connection in a modern world.

At its heart, Liberation unfolds as an intimate dialogue between women whose lives intersect in unexpected ways, beginning in 1970s Ohio. The story centers on a young, ambitious journalist named Lizzie, who starts a small “consciousness-raising” group, bringing local women together to discuss evolving their lives and the world for the better, by exploring themes of sisterhood, ambition, and societal constraints. Betsy Aidem is Margie, a woman grappling with the shadows of her past and the memories of societal upheaval she once witnessed. Enter Kayla Davion’s character, a younger woman searching for her own identity and a sense of liberation amid contemporary struggles. Their encounter sparks difficult conversations about history, trauma, and the fleeting nature of freedom. In the present day timeline, Lizzie’s daughter revisits her mother’s past, piecing together the history of the group and the choices her mother made, questioning the legacy and the true meaning of liberation.

Wohl’s writing deftly balances the personal and political, weaving moments of tenderness with biting honesty. The narrative does not rely on grand spectacle but thrives on the nuanced exchange of ideas and emotions between the characters, making the theatre space a crucible for reflection and empathy.

Director Whitney White’s vision shines throughout the production, creating a staging that feels both minimalistic and deeply resonant. The intimate setting of the James Earl Jones Theatre complements this approach, fostering a sense of immediacy and engagement that draws the audience directly into the emotional landscape of the story unfolding before you.

Betsy Aidem’s portrayal of Margie is a masterclass in subtlety, her performance conveying the weight of lived experience with a quiet strength that commands attention without overwhelming insistence. Kayla Davion as Joanne complements her character beautifully, infusing youthful urgency and vulnerability into the dynamic between the characters. The cast’s chemistry anchors the play’s themes and invites viewers to linger on the complexities of liberation itself—not just as a concept but as a lived reality.

For a contemporary audience, Liberation resonates on multiple levels. It challenges us to consider how personal histories are intertwined with broader social narratives and how the quest for freedom can take many forms, from political activism to the intimate act of personal truth-telling. Bess Wohl’s script, supported by excellent direction and acting, does not provide easy answers but opens a space for meaningful dialogue, which oftentimes lends more to the cause than a firm resolution ever could.

Moreover, the inclusion of powerful female leads emphasizes the voices that are even still, too often marginalized in mainstream theatre, adding crucial perspectives to ongoing cultural conversations.

Liberation is a testament to the power of theater to confront difficult themes with grace and emotional honesty, leaving audiences both moved and contemplative as they exit onto the ever colorful and always righteous New York City streets. Don’t miss Liberation on Broadway before it ends on February 1st. For tickets: https://liberationbway.com/

Broadway's Best Capsule Reviews

Review of Marjorie Prime

What happens to our memories, the wonderful and the terrible, after they fade? Will others we shared them with remember the glorious or painful details well enough for us, or must our memories simply die with us, never to be recalled or told again? Marjorie Prime on Broadway wastes no time, ahem, asking these very questions not only of the Oscar-worthy cast, but of the audience, too.

Written by Jordan Harrison and directed by Anne Kauffman, Marjorie Prime is a ninety-minute drama with the kind of slow-burn grief that only comes with that of dementia. The phenomenal June Squibb is Marjorie, the lead character at the center of the story. Sharp as a tack herself at a ripe young age of 96, Squibb’s “Marjorie” portrayal is a mighty one, as a grandmother with Alzheimer’s who playfully but purposefully pokes fun at the seriousness of losing one’s mind. Marjorie’s daughter, Tess, played by the righteous Cynthia Nixon with the kind of sincere conviction you can expect from her today, unsurprisingly finds nothing funny about her mother’s memory loss, which can only mean she’s in for a larger loss to follow.

Tess’s husband, Jon, played by stage and television star, Danny Burstein, is the loving and loyal glue that helps bind the sticky bonds of his wife and mother-in-law as they collectively brace for the next life chapter to come. And then there’s the gracious and most charming Christopher Lowell, who plays Walter, Marjorie’s sci-fi companion who is a hologram of her late husband. This is where the “Prime” comes in. We meet Walter as a young adult man sweetly rehashing fond memories of yore with a woman old enough to be his grandmother. But it’s not long before you realize that Walter is perhaps an AI companion whose only use is to keep the living entertained with past tales that are either tall or taut, depending entirely on who you ask. In Walter’s case, all his memories have been trained by Tess and therefore told with edited outcomes for her mother.

The story of Marjorie Prime on Broadway will be a familiar tale for so many who have slowly lost a loved one twice. Once when their memory of you fades but they are still physically here, and then a final time when they physically fade away entirely. But this isn’t solely another story of slow grief followed by inevitable loss. Marjorie Prime dares us all to ask ourselves how we remember our own stories and how we choose to tell them. Do we sterilize the bad stories with better outcomes? Because hey, if we don’t remember how it went anyway, why not simply retell it with a better narrative? And is it better for those who can’t recall their own memories to go ahead and bend their truth for them, to make a recollection worth reliving?

See Marjorie Prime at New York’s lovely Hayes Theater before it closes on February 15. And don’t forget to ask yourself how you’d prefer your best, and worst, memories told when you’re no longer around to tell them. Tickets at 2st.com/shows/marjorie-prime

Capsule Reviews

Review of Queen of Versailles

Post author By Robyn Roberts
Post date December 8, 2025
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The Broadway production of Queen of Versailles, recently starring Sherie Rene Scott in the lead role, offers a captivating theatrical adaptation drawn from the buzz-worthy documentary directed by Lauren Greenfield. The transition from film to stage unveils the legendary story of American wealth and aspiration through a fresh and vibrant lens. You can expect to experience both glamour and vulnerability on New York’s premiere Broadway platform at the gorgeous St. James Theatre.

Inspired by Greenfield’s 2012 documentary that chronicles the lives of Jackie and David Siegel, a billionaire couple building the largest house in America. The Broadway show reimagines their story with sharp wit and poignant drama fit for a stage, easily marrying 18th Century French royalty with modern day glitz. Originating from the book by Lindsey Ferrentino, Stephen Schwartz of Wicked fame is behind the music and lyrics. Queen of Versailles captures the delicate balance between excessive opulence and the human cost that lies beneath. Led by director Michael Arden, the production seamlessly combines humor, tension, and insight, offering a rich portrayal of the family’s ambition and challenges during the 2008 economic downturn.

The cast dazzles in bringing this story to life, with Sherie Rene Scott stepping gracefully into the leading role of Jackie Siegel, made famous by Broadway darling, Kristin Chenoweth. Scott’s standby performance is both nuanced and engaging, emphasizing the emotional depth and resilience of her character amidst the chaotic circumstances of over-indulging. The recognizable and esteemed actor F. Murray Abraham plays her billionaire husband, David Siegel with passion and conviction. Abraham lends a wealth (pun intended) of convincing love and affection for his wife, as he also grapples with family and fortune and the addiction to having “more.”

Supporting roles feature a talented ensemble whose chemistry and energy only enrich the show’s narrative, creating a dynamic atmosphere that easily keeps you thoroughly engaged. Time moves fast here because you are indeed having fun.

For theatergoers keen on shows that blend social insight with entertainment, Queen of Versailles offers a unique experience. It prompts reflection on themes like consumerism, resilience, and the elasticity of the American Dream, all within the dazzling world of a Broadway musical.

Moreover, the show incorporates moments of humor and irony, gently poking fun at the idea that more money can solve everything. The production balances spectacle with intimate character moments, ensuring the story remains thought-provoking, rather than simply lavish and superficial.

Queen of Versailles on Broadway is more than just a story about wealth. It’s is an exploration of dreams, setbacks, and the human condition beneath the glittering surface. The show begs the question of every audience member, what truly matters when the palace walls come crashing down? And that alone, is a beautiful takeaway.

Don’t miss your chance to witness this fun musical feat before it closes on January 4th, 2026. Tickets at queenofversaillesmusical.com

Capsule Reviews

Review of Chess

By Robyn Roberts

The cast of Chess on Broadway delivers an electrifying and emotionally resonant performance, guided by director Michael Mayer, and ignited by legendary score of writers, Benny Andersson, Björn Ulvaeus, and Tim Rice.

Chess arrives on Broadway with the confidence of a grandmaster and the vibe of a genuine crowd-pleaser. From the first flicker of the chessboard motif to the last sustained note, Chess makes a compelling case for the show’s return to the spotlight, embracing its Cold War intrigue and pop-opera sweep with clarity, style, and heart.

Aaron Tveit commands the stage as Freddie Trumper, infusing the role with magnetic energy and a rock-inflected vocal brilliance that captures both the character’s bravado and vulnerability. Lea Michele’s Florence Vassy lends vocal clarity with dramatic depth, anchoring the show’s complex love triangle with a performance that balances strength with sensitivity. Nicholas Christopher, playing Anatoly Sergievsky, offers a nuanced approach, his rich baritone and understated intensity gives gravitas to the Russian chess champion’s moral and personal struggles within.

The performances match the production’s ambition. The central trio generates genuine heat and nuance, suggesting the triangle not as a plot convenience but a collision of bruised egos, genuine affection, and clashing personal identities. Vocally, the cast delivers the goods. Rangy, expressive, and attentive, yet what lingers is the specificity in their actions. A glance that lands like a dagger, a breath held one beat too long, a gesture that reveals more than a lyric could alone. The Chess ensemble is a live wire, snapping into crisp formations and lending high-stakes urgency to press conferences, game matches, and media frenzies.

Musically, it’s a feast. Chess marries ABBA’s pop sophistication with theatrical sweep. The band gives the score real weight, as 1980’s synth-pop shimmers without feeling dated, guitars snarl where they should, and the strings add depth and ache. “One Night in Bangkok” crackles with satirical bite and percussive snap.

Great music and choreography aside, perhaps most impressively, the evening never loses sight of the human story. For all the spectacle, the production keeps returning to the people at the center of the story. What it costs to win, what it costs to walk away, what it means to be seen only as a symbol. By the curtain, the applause feels as much for the clarity as for the craft. Chess plays like the great musical it’s always threatened to be. Big, bold, and fiercely alive. See it at New York’s Imperial Theatre before it ends in early May, 2026. Tickets at https://chessbroadway.com/

Capsule Reviews

Review: ART

By Robyn Roberts

A hilarious, side-splitting lesson on the power of subjectivity and personal conviction between friends.

Performing for only 17 weeks at The Music Box Theatre, ART on Broadway delivers laughs as big as the A-list cast. Set in Paris, present day, you can easily expect to be tickled by the dry quips shared between three best friends, as early as the opening act.

Bobby Cannavale’s character, Marc, finds himself utterly confused by the six-figure purchase of a painting acquired by his friend, Serge, played by Neil Patrick Harris. The tug of war between two strong opinions, where Marc sees a silly, expensive mistake while Serge sees a modern masterpiece, can only be won with a third player playing both sides. Enter their friend, Yvan, played by the delightfully dizzying James Corden, who’s too consumed with his own potentially expensive predicament to care about another’s art choice.

Corden is the angsty, high strung, high octane compliment to Cannavale’s confident swagger and Harris’ steady matter-of-factness. The chemistry and playful dynamics between the three friends are most convincing. The battle of differing opinions or the inability to commit to one at all, tests the loyalty between the friends, revealing the sneaky ways in which subjectivity can crack even long held bonds.

Will one painting ruin the friendships of three grown men? See ART on Broadway by December 21, 2025 at New York’s storied Music Box Theatre to find out. Playwright Yasmina Reza and Director Scott Ellis have executed a very fun and funny feat that’s only 100 minutes long.

It’s easy to expect critiques of fine art to be dramatic. But if you can make it hilarious as well, then why not go ahead and call it a masterpiece. Depending on who you ask, of course.

Tickets at: https://artonbroadway.com/

Capsule Reviews

Review of Punch

By Robyn Roberts

Based on the book, Right from Wrong, by Jacob Dunne, Punch on Broadway tells the story of a young man battling himself and everyone else in Nottingham, England. Adapted for the stage by British playwright, James Graham, and directed by Adam Penford, Punch hits every reservoir of emotion between the opening and final act.

Jacob, played flawlessly by Will Harrison as the lead antagonist turned protagonist, takes the audience along with him as he grapples with cause and effect of his environment versus his life choices. Jacob found understanding and community in the Nottingham streets while his single mother worked long hours to build a respectable life for her son. Jacob is also plagued with a spectrum of disabilities which only add fuel to his internal fire to snuff out a modicum of meaning or purpose to his life. Punching back at everyone and thing that have taunted or dismissed, Jacob becomes a habit that ultimately knocks him onto his most painful, but inspired trajectory yet.

The Punch cast is small and mighty, with many actors playing multiple characters within Jacob’s scarred reality. Costumes and set changes are minimal too, because in this story, it’s the characters’ rollercoaster of raw emotions that need no filler or color. As an audience member, you’ll revisit loss and grief, the anxiety of self-doubt, the rush of a new flirty crush, the weight of societal and familial pressures. You may laugh at times or cry at others, but you’ll easily leave humbled by your own life choices, and the idea of real second chances.

Harrison lends buckets of dialed-in energy to his portrayal of Jacob, amongst many other standout performances. Lucy Taylor as Jacob’s “mum” will leave you breathless as she reckons with the fate of the boy she raised. And then you meet another mum, played by Judith Lightfoot Clarke, whose grief is most palpable after the one punch that would change all.

Open now and running until November 2, 2025, go to the Samuel J. Friedman Theatre and experience Punch on Broadway before it ends. https://www.manhattantheatreclub.com/shows/2025-26-season/punch/