Category: Capsule Reviews

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/

By Ben Lerner

There’s a delightful new romantic comedy about two strangers carrying a cake across NYC. It happens to be a musical direct from London called Two Strangers (Carry A Cake Across New York), now playing on Broadway at the Longacre Theatre. 

It delivers on that premise, but I can also promise you’ll laugh, smile, swoon, and be moved. Weeping is not out of the question. Being charmed by its two leads is guaranteed. Developed in the UK but set in Manhattan and Brooklyn over two days in December, Two Strangers makes New Yorkers, Brits, and any romcom aficionado feel right at home.

Unlike the average musical comedy, Two Strangers has only two cast members — and you guessed it, they’re the two strangers in question. One is Dougal, fresh off the plane from London to attend his estranged father’s NYC wedding, and the other is Robin, a busy New Yorker and sister of the bride who is tasked with picking up “the kid.” Do they vibe at first? Of course not! Do things change? Well, it’s a romcom after all!

Luckily, a classic meet-cute leads to some surprising developments, as truths about both characters are revealed and they begin to care for each other. It follows a formula without being formulaic, largely thanks to the tiny cast, unique direction and a memorable score that spans genres.

The other referenced characters never appear, and while that can occasionally it feel incomplete, Two Strangers thrives on the chemistry and comic timing of its two leads, who are developed beautifully through their maximal stage time. Sam Tutty, known for his Olivier-winning turn as the titular character in the West End’s Dear Evan Hansen, shines as Dougal, who is at times corny, at times vulnerable, and always very adorable and very British. He played the role in London, but his costar, the phenomenal Christiani Pitts as the pessimistic (and secret-carrying!) barista Robin, is new to the Broadway transfer. Pitts, who appeared in King Kong and A Bronx Tale on Broadway, is from New York, which is clear in her referential one-liners about NYC culture. 

 Jim Barne and Kit Buchan have written a script both wholesome and clever, weaved between catchy songs well-suited for online virality, all sung expertly by Tutty and Pitts. The unique set of oversized suitcases on a Hamilton-esque turntable, designed by Soutra Gilmour, has a few surprises of its own. Its abstract nature and simplicity contrasts with the realistic image on the Playbill cover of Dougal and Robin on the subway.

Directed by Tim Jackson, Two Strangers (Carry A Cake Across New York) is another welcome British addition to the Great White Way. It’s neither radical nor revolutionary, but it’s special to see two talented actors perform a musical romantic comedy all on their own. I’d wager that there’s a bright word-of-mouth future for the production and that its score will develop a young and passionate fandom. Appealing to lovers of both situational comedy and wholesome romance, Two Strangers, set in NYC in December, is a sweet treat for the holiday season. Tickets at https://twostrangersmusical.com/

By Ben Lerner

One might think a new play based on an Ancient Greek myth would offer thought-provoking modernizations and great performances, but perhaps not too much shock value. One would be mistaken, at least when it comes to the brilliant transfer of the West End’s hit Olivier-winning production of Oedipus, which opened on Broadway on November 13 at Studio 54.

This Oedipus, adapted and directed by Robert Icke and set in the modern world of politics, uses almost entirely new language, while remaining faithful to the infamous dramatic plot points of Sophocles’ play — though they’re revealed differently through an original narrative. The character names are the same and the text displayed on screens is in Greek, though the all-British cast suggests the election occurs in the UK.

Beyond these names and motifs, Icke crafts a new, hyper-realistic political and familial drama in real time, set over two uninterrupted hours before the results of an election. Here, Oedipus (Mark Strong) is in his campaign headquarters on the precipice of victory, surrounded by his family and staff. These include his wife Jocasta (Lesley Manville), his mother Merope (Anne Reid, spectacular at age 90!), his brother-in-law/campaign manager Creon (John Carroll Lynch), and his children Eteocles, Polyneices, and Antigone (Jordan Scowen, James Wilbraham, and Olivia Reis, respectively). 

The horrifying plot twists, which I won’t describe here but are well-known to most — through the original play, Shakespeare’s version, or the corresponding Freudian psychological concepts — are inevitable, yet they hit Studio 54 with such force most of the audience leaves stunned into a silent daze. This is a testament to Icke’s writing and direction and the haunting lead performances by Strong and Manville. Both are Tony-worthy, but at the very least, Manville should be a lock to win Best Actress in a Play, as she did for this role earlier this year at the Olivier Awards.

Strong and Manville are both veterans of West End theatre perhaps more familiar to American audiences for their onscreen work — Strong for films such as Kingsman, Zero Dark Thirty and Sherlock Holmes, and Manville for her Oscar-nominated performance in Phantom Thread and Emmy-nominated role as Princess Margaret in The Crown. In Oedipus, they both reach new dramatic heights, telling their characters’ tragic tales with nuance, raw emotion, and even humor. The audience laughs before it gasps, transfixed from its start to its stunning finish. 

What transpires in between is edge-of-your-seat drama that is salacious (naturally), but also deeply devastating when set in this modern context. I left simultaneously horrified, heartbroken, and awestruck. It’s a tragedy in every sense of the word, and one that anyone who appreciates top-tier stage acting and playwriting should not miss. (Except children. Don’t bring them!)

Oedipus will shock you, sicken you, and sadden you — and it will stick with you in a way most new plays cannot. Witness it at Studio 54 now through February 8, 2026.  Tickets at https://oedipustheplay.com/

By Ben Lerner

It was recently announced that Oscar winners Emma Stone and Jennifer Lawrence will be producing a Miss Piggy film with a script penned by Oh, Mary! Tony winner Cole Escola. For those who can’t wait to see Piggy in action, she’s currently costarring in a Broadway show — but probably not the one you expected.

Miss Piggy and her Muppet friends cameo in Rob Lake Magic, currently playing at the Broadhurst Theatre. The show is what it sounds like: an interactive Vegas-style magic show starring Rob Lake of America’s Got Talent fame. Is the inclusion of the Muppets somewhat random? Definitely. Is it a bad thing? Not at all. If anything, they’re underutilized. 

Cole Escola’s script will almost certainly contain raunchy adult humor, but at Rob Lake Magic, the Muppets are as family-friendly as it gets. Lake performs a mix of his famous illusions — not new ones — and includes significant audience participation. There were occasional technological hiccups, but it was clear that magic lovers and child attendees had a ball. And that’s who this production is catered to, rather than a general adult audience or Broadway fans. It’s perfectly enjoyable, if not slightly underwhelming, as a non-magic-obsessed adult, but in many ways it’s a Vegas show on a Broadway stage and operates as such.

Make no mistake: there are plenty of mystifying moments to go around, with several leaving the audience, myself included, dumbfounded. Other tricks employ what seems to be prerecorded video and audio and are less shocking. There are classic illusions like “woman sawed in half” that are not mind-blowing to an adult audience — but again, this is a family show for kids and magic superfans, most of whom seemed to leave amazed.

Even if some illusions run smoother than others, but children under 10 won’t be bothered. Many get to participate, which yields adorable moments. Adults are called to the stage, too, and many of them were no less bewildered. The final trick has a great payoff.

Rob Lake has a good stage presence and grew more comfortable throughout the show, bantering with audience members and leading with self-deprecating humor. These moments land best, compared to the classic Vegas magician moments of bravado. While this is a classic magician trope, the arms-spread-wide pose after the illusion to soak up the glory can come off inauthentic. This is likely because Lake really is a normal, nice, non-egotistical guy with a special talent, though some may come with an expectation of Vegas-level drama. I noticed Lake’s costume — a basic blue sweater on top, leather pants below — almost reflected this interesting mixed persona.

If you love illusions — or have kids who would be excited by them — you’re sure to have a great time full of oohs and ahhs at Rob Lake Magic. If you fit into neither category, it may not be catered to you. It’s playing on Broadway, but it’s certainly more of a “Special Event,” and one that any magic-loving child would adore as a family outing. And while I wish we’d seen more of them, the Muppets are the legendary scene stealers we know and love. As Miss Piggy asks the audience, “It’s good to see moi, isn’t it?” No need to respond — that was rhetorical!

Rob Lake Magic is playing at the Broadhurst Theatre through November 16, 2025. Tickets at www.roblake.com/broadway

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/

By Ben Lerner

Ragtime has risen at Lincoln Center. The musical revival, based on E.L. Doctorow’s 1975 historical fiction novel, opened October 16 at the Vivian Beaumont Theater as a transfer of New York City Center’s hit Encores! production from last fall. The cast and direction are largely the same, but unlike City Center, with its huge capacity and sky-high balconies, this Ragtime feels intimate, performed in the round with stadium seating — so everyone can see the performers’ faces. The result is transcendent: a glorious revival of a musical masterpiece that is always timely, but remarkably so in 2025.

Set in NYC suburb New Rochelle during the early twentieth century in the years leading up to World War I, Ragtime blends the stories of real life personalities like Evelyn Nesbit, Emma Goldman, and Harry Houdini with the fictional tales of a wealthy white family, a poor immigrant family, and Coalhouse Walker Jr. and Sarah, a Black pianist and his lover. The stories intertwine over a decade, at times comically and often tragically, tackling racism, classism, xenophobia, and the unrealized American dream. 

Lynn Ahrens and Stephen Flaherty’s score is breathtaking, spanning genres and gorgeously performed by a 28-piece orchestra. It’s elevated to new heights by the lead performances and large ensemble cast. As Coalhouse, Joshua Henry is a vocal and dramatic tour de force. The sheer power and range of his instrument is otherworldly, and the Tony for Best Actor should be locked. Nichelle Lewis devastates as Sarah, with a wholly different vocal performance from role originator Audra McDonald — Lewis and Henry’s “Wheels of a Dream” is sensational. Caissie Levy, Brandon Uranowitz, and Ben Levi Ross are in top form, giving nuanced and moving performances as Mother, Tateh, and Younger Brother, respectively. 

Ragtime opens with a lone child actor on an empty stage. When the full ensemble rises from the back of the stage, it’s a chills-inducing moment — the first of many. And when Sarah’s Friend (the spectacular Allison Blackwell) belts “Till We Reach That Day” at the end of the first act, praying through grief for an America that is truly antiracist and finally free of discrimination, it’s palpable that day has still not been reached. Don’t miss the opportunity to witness this story, with this score, sung by this cast  — at the Vivian Beaumont Theater until January 4, 2026. Tickets at: https://www.lct.org/shows/ragtime/

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/

Adam Guettel and Tina Landau’s Floyd Collins—based on the true story of the Kentucky cave explorer—receives its long-awaited Broadway premiere in a new Lincoln Center Theater production, directed by Landau herself. While exploring a cave in a Kentucky mountainside, Floyd Collins, played by the incomparable Jeremy Jordan, becomes stuck between a rock and a hard place… literally. His rescue proves treacherous and soon captures national attention, drawing throngs of onlookers and reporters to the remote countryside. In the cavernous Vivian Beaumont Theater, Jordan’s physicality and emotional volatility create a palpable sense of claustrophobia… in the best possible way. Other notable performances include Taylor Trensch as the skittish reporter Skeets Miller, and Broadway newcomer Lizzy McAlpine, whose voice feels tailor-made for Guettel’s folk-infused score. Known for The Light in the Piazza, Guettel here crafts a soundscape that blends Americana, folk, and yodeling into something as unexpected as it is refreshing. Floyd Collins runs through June 22 on Broadway.

A wild western true story gets the folk rock treatment from composer David Yazbek, bookwriter Itamar Moses, and director David Cromer in Dead Outlaw at the Longacre Theatre. Andrew Durand, as the titular deceased fugitive, gives an outrageously dynamic performance, made all the more impressive considering how much of the show he spends completely idle. Julia Knitel is another cast standout, showcasing range and rhythm in her multiple roles with varying interactions with the corpse, before and after his untimely end. The material asks the audience to lean in and ponder its larger themes of mortality, living the life we’ve got, and the legacy that we leave behind after it. Overall, the onstage band and their interplay with the storytelling around them give this show a unique and quirky quality that surprises and delights those searching for weirdness in their Broadway diet.

Kimberly Belflower’s new play gives a 21st-century take on Arthur Miller’s The Crucible through the lens of a Georgia high school classroom’s study of the classic. Directed with riveting pacing and youthful energy by Danya Taymor, the play packs punches that are at once jarring and sobering, elevated by the twitching set and lighting design from AMP and Natasha Katz, respectively. The strong ensemble cast includes standouts Sadie Sink and Fina Strazza, surrounded by a bevy of character actors breathing freshness into the unfortunately ever-timely themes of women’s rights and agency. By the play’s emotionally enthralling climax, the audience has been on quite a thought-provoking and endlessly expressive journey of rage, tenderness, and revelation.