Seeing a production this clever and theatrical is genuinely showstopping. I have not stopped thinking about how carefully constructed this play is. I did not want “Dear John” to end. Directed by Tara Elliot and performed by Rachel Lin, the piece stands out as a one-of-a-kind theatrical experience. From the start, the level of talent behind the show is evident. The set design by Zhuosi “Joyce” He is particularly striking. For a solo show, the environment feels unusually expans

Stewart Huff’s Is Anything OK?  feels at times like a comedy set delivered from the edge of a Sunday sermon. The tone is reflective and philosophical, yet it is aimed at an audience ready to laugh rather than sit quietly with big ideas. Huff begins by bantering with the crowd in a way that feels warm and personal. He presents himself as someone relatable, though the show takes time to reveal exactly what that connection is meant to be. Early on, the storytelling wanders. The

Gutwrenching, yet important for today's world, Body Count was a special piece of storytelling, vastly compelling for the identity of what the world knows, but perceives you by. Shock-grabbing attention straight from the beginning, but also pure-theatrical magic, directed by Alice Wordsworth, and written and performed by Issy Knowles, Wordsworth makes you sit with the thoughts of what it means for those who live within a reality that is taboo in modern society. Knowles' perfor

“Gobstopper” is a stone cold and often brutal coming of age journey, written and performed by Leyla Aycan. At its heart is an imperfect but deeply realistic character fighting for redemption. The piece moves through emotional wreckage and defeat, yet somehow frames it all with a search for inner joy. For anyone drawn to stories about teenagers stepping uneasily into adulthood, or about light pushing through the darkest clouds, this will feel familiar. Every word feels intenti

“Edward” is a one-of-a-kind theatrical experience, written and performed by Ed Schmidt, that attempts to reframe what storytelling can be. The structure is fluid, almost interchangeable, with the sense that the order and emphasis of events could shift from night to night. That flexibility gives the piece a magical quality, as if the story is being rediscovered in real time. Schmidt’s performance is emotionally powerful and technically impressive. He never falters. The lines a

Comedic brilliance with just enough extremity to jolt you upright in your seat. That is the energy Josh Glanc brings to “Family Man,” one of the quirkiest and most unexpectedly hilarious premieres of the year. The show begins with cornball music and a tone that feels almost wholesome. Within minutes, that innocence fractures into something far stranger and far funnier. Glanc is fearless on the mic and with his sound cues, leaning into absurdity without ever apologizing for it

“ElephantWoman” unfolds as a journey through Africa, love, grief, and admiration, anchored by a commanding performance from Megan Metrikin. She delivers a portrayal that is powerful, restrained, and emotionally layered, one that quietly shocks through its honesty rather than force. The opening image, evoking the internal aggression of elephants, sets the tone for a piece that explores both the natural world and the human damage inflicted upon it. The show draws attention to t

News that shakes the foundations of America is usually filtered through headlines and broadcasts, flattened by repetition and distance. “And Her Children” dares to place that same emotional weight on a theatrical stage, and the result is both devastating and necessary. Created by Rosie Glen Lambert and Hailey McAfee, this is a rare piece of theatre that confronts modern tragedy without spectacle, trusting the audience to sit with discomfort and complexity. At the center of th

This show lives somewhere between pure joy and open ended philosophical reflection, and Tom Cashman balances that line with remarkable ease. I could not stop laughing. I snorted, others snorted, and the room buzzed with the kind of laughter that comes from real connection rather than forced punchlines. Expectations are always high for a solo comedy show. I want to laugh with clarity, not spend the evening analyzing why a joke works. Cashman delivers exactly that. “2 Truths, 1

Solo theatre at its best offers a glimpse into another life that feels immediate, intimate, and unmistakably real. “Where Is Your Husband,” written and performed by Anshita Koul, does exactly that. It is rich, powerful, and unexpectedly one of the funniest pieces of theatre I have seen this year. Koul’s performance is emotionally driven but never indulgent. She uses comedy as both shield and scalpel, masking painful truths just long enough to let the laughter land before reve

This is easily one of my favorite shows of the season. From the first moment, the production pulls you into a visual wonderland overflowing with texture, color, and authenticity. It feels like stepping into a whimsical dream, the kind that reminds you exactly why people come to New York City in the first place. This is where magic still happens. Austin’s off Broadway debut is nothing short of a triumph. The show unfolds as a creative vision brought fully to life, filled with

“Gas Lighting” bursts onto the stage with a cartwheel and never lets the joy drop. It is the kind of show that feels like a gift in the moment, offering laughter, humor, and lightness when audiences are craving exactly that. Through a series of vignettes, this true New Yorker shares her desire to be seen, heard, and understood. When she admits that creating her first solo show made her feel like a real person, the moment lands with quiet sincerity. As artists, many of us reco