This is a high energy show led by a performer who was clearly born for the stage. Jessica shares her life stories with humor and generosity, meeting challenge with wit rather than self pity. The theme is familiar but handled with sincerity. We are all still figuring out who we are, and it is the adventures we take that shape who we become. Jessica’s greatest strength is her command of the room. She draws the audience in effortlessly, guiding us through a fast moving journey f

With wisdom, grace, and powerful storytelling, this show unfolds like a series of living poems. Her songs feel less performed than offered, reflections on life delivered with honesty and care. The message is simple and urgent. Do not be afraid. Seize life. “Snapshots” breaks your heart in the quietest way and then asks you to rebuild it with intention. You leave the theatre questioning what you can do today to live more fully, to be braver, kinder, and more present. It makes

Eight months ago, Keith learned he is autistic. From that discovery comes a sharply focused and generous solo show built around ten vignettes, each one revealing how autism shapes reasoning, perception, and everyday survival. Keith explains literal thinking as a core part of autistic life and returns often to the idea that the mind is always searching for ways to survive. What could feel clinical never does. His natural ease on stage turns explanation into storytelling, and i

Joyce opens the evening with a song that sets an earnest tone, singing about dreaming hearts, hope, faith, and belief in being found. From there, the show leans heavily into the idea of destiny as we learn that Joyce was raised in a strict household and somehow became a relationship expert. Whether this is fact or fiction remains unclear, and that ambiguity becomes both a feature and a flaw of the piece. Joyce openly admits she is a confusing soul, a sentiment that mirrors th

Why do we keep secrets. The question hangs over this performance long before it is ever spoken. As Rodolfo Alvarado tells the story of Anthony Acevedo, sixty three years of enforced silence settles into the room like a ghost that refuses to leave. Alvarado brings extraordinary focus to Acevedo’s life. A World War Two combat medic and Holocaust survivor, Acevedo was one of three hundred fifty American soldiers secretly sent to Berga, a Nazi slave labor camp. The facts alone ar

“The safest and strongest queen is the one who rules alone.” That line alone could carry an entire evening, and in Tammy L. Meneghini’s hands, it nearly does. Meneghini is completely at ease in Elizabeth’s skin. She guides the audience through a world of love, debauchery, betrayal, and rebellion with fearless energy and sharp intelligence. The performance is eccentric, hilarious, and unapologetically bold. She commands the stage like a ruler who knows her power and delights i

The experience begins before the show does. As you enter the theatre, you are asked to write down a childhood memory on a board. At first it feels simple, even casual. Later, it becomes devastatingly clear why it matters. Silence fills the room as Paris finishes her opening dance. The pause is tense. When she finally speaks, she sings “Amazing Grace,” beautifully, and the chill is immediate. You sense that something terrible is coming. Flashing lights and the repeated command

A sense of unease hangs over this show from the start, like a storm forming somewhere just out of view. Brian opens with the story of his daughter Emily, a first grader who cannot stay seated, whose behavior escalates quickly enough to summon an army of mental health professionals. From that point on, the narrative shifts, and not always to its benefit. The therapists dominate the story. They are described in vivid and often unsettling detail, more transactional than compassi

I knew this would land the moment I saw her rehearse. After twenty six shows back to back, Lucia arrives with the confidence of someone who has already proven the point. This performance is a full bodied extravaganza of voices, stories, and soul, all circling one deceptively simple question: who are you, really. Lucia’s journey is built on contradiction. When her parents question her career choice with the blunt line, “So you want to be a comedian? The same thing you did at s

Carol opens with a question that hits immediately: “Are we born crazy or does life make you crazy?” It is a strong line, and for a moment, it feels like the show is about to lock into a clear thematic path. She launches into a reflection on motherhood, describing it as “like skydiving,” a plunge from chaos into calm and then back again. That same pattern defines the entire piece. Moments of clarity emerge, then dissolve into disorder. The central issue is execution. Carol for

“It Ends With Guinea Pigs” closed the United Solo Festival with force and unusual charm. Diana Gitelman delivers a performance that moves through hope, love, defeat, and perseverance with a confidence that makes even the strangest material feel inevitable. The show begins in a way that seems almost deliberately confusing. The concept feels too odd to hold. Yet the chaos becomes its own language, and the tale of guinea pigs slowly reveals itself as an entry point into generati

Bill Hartung’s “I Get No Respect” arrives as one of the most unexpectedly eye-opening political comedy shows to land in New York this season. Hartung strips the foreign policy world of its jargon and pretension and replaces it with something far more dangerous: the truth, told plainly and with a sense of humor sharp enough to cut through years of professional frustration. The show works because Hartung refuses to mythologize himself. Instead, he leans into the idea of being a

“In the Elevator” is a sharp and unsettling dive into the interior life of a man who carries more turmoil than he ever shows to the world. Ika Gogoladze delivers a performance that is both explosive and deeply controlled. He commits to the character with a level of precision that makes every gesture feel charged. The piece unfolds like a storm. The old saying "when it rains, it pours" feels engineered for this production. Minutes compress into seconds as the character ricoche

Nargiz Alizada’s solo performance is a clear eyed journey through heritage, displacement, and the ongoing work of becoming American on one’s own terms. As a modern day immigrant from the former Soviet Union, she recounts her story with an honesty that lands somewhere between confession and celebration. The writing blends personal history, poetic reflection, and sharply observed humor. Alizada moves from long stretches of waiting for a job to frustrating encounters with Americ

“The Game To Play” is a compact piece that feels larger than its twenty-five-minute frame. From the opening moment, Iryna Scarola builds a slow burn of thriller-like tension that steadily expands into something far more lyrical. Her rebirth dance sequence is the highlight of the work. It is haunting, fluid, and charged with a sense of transformation that stays with you long after the lights shift. Scarola leads us through a near-death experience inside a hospital, then pulls

Keith Varney’s solo show “Ten Times I Should Have Known I Was Autistic” is the kind of production that sneaks up on you. It arrives as a comedy, delivered with the confidence of a seasoned performer, yet it quietly expands into something far more ambitious. What begins as self-deprecating humor turns into an invitation to rethink how we understand autism and how much is missed when people are left to decode their own minds. Varney approaches the subject with unguarded honesty

The Mountain, Malt Liquor, My Mom & Me , performed by Mary Regan, is a piece that traces a pivotal hiking trip and the unexpected lessons that followed. Regan folds together stories of family, friendships, recovery, identity, and even an introduction to the world of Drag Kings, shaping these threads into a narrative that motivates, surprises, and invites reflection. Her ability to navigate both difficult memories and lighter observations gives the piece momentum and depth fro

Intact: One Woman’s Search for Home , written and performed by Robin Colucci, is a lively solo piece that blends comedy, song, and personal storytelling. Colucci’s performance is energetic and engaging, inviting the audience into a journey that explores childhood memories, identity, and the search for purpose. Beneath the humor, the piece examines the challenge of holding a life together while navigating internal struggles and past relationships. Colucci’s willingness to show

The Secret Poetess of Terezín by Lenka Lichtenberg weaves together music, memory, and history with extraordinary care. Through songs and spoken reflections inspired by writings from the Terezín concentration camp during World War II, Lichtenberg offers a performance that feels both powerful and meticulously shaped. Her vocal delivery and musical interpretation create an emotional landscape that honors the weight of the material without ever overwhelming it. The simple piano-

Light , performed by Xue “Snow” Zeng Hwang, is a visually striking and emotionally nuanced solo piece that explores themes of growth, resilience, and self-discovery. Hwang employs expressive movement and physical storytelling to guide the audience on a journey shaped by personal challenges, inner conflict, and a desire for connection. Her use of body language creates clarity and emotional depth, allowing the audience to follow the narrative through gesture, rhythm, and physic