She speaks in refuge and power! Monodrama actress and playwright Lila Kay brings out something our world needs to see, hear, and listen to. I wouldn't have been too daunted by a show that deliberately makes the audience uncomfortable, but in this case it works perfectly. Drug addiction can affect anyone at any given time. When looking at the details behind what makes solo shows work better for storytelling, it isn't about what makes the performance, "the performer's dream"; t

A show about the autism spectrum is a challenging and important topic to handle for both the performer and the audience. In the midst of the production, I found the piece to be more of a spoken-word performance rather than a plot-driven storyline. During the performance, Anton Spivack's personal journey was fairly important to how gracious the character of a failed playwright was, while also teaching us a lesson to be learned. I appreciated the constant story that was spoken

A night of stars, celebrities, celebrations, and searching for yourself.. Stage Mamma: From Child Star to Leading Lady , starring Rheagan Wallace, was an epic of trials and a coming of age. There have been several times I've seen a coming-of-age show that is a journey of adventure, but this one also showed how one could make a production great and euphoric at the same time. This was an amazing production for a new generation of theatrical storytelling—a rare epic that is the

So! So! Funny! This was a great night, and a perfect show for the comedy world. I was in tears for how funny it was, but also impressed by the conversation made about those in power in regards to abiding by respect and accountability. The Honorable Herbert Peabody explores deeply into what we should allow, and what shouldn't be granted.    Watching a political comedy is always a mix of expectations as to whether the show might be funny or serious; both of which were within th

Tony Award Nominated and multiple Drama Desk Award winner Sally Mayes is known for her megawatt onstage presence, unassailable acting chops, and show stopping voice. That all of these attributes are on full display in Contradiction of a Southern Soul is to be expected, what is not is that Mayes is also an adept, witty playwright and songwriter. It is important to note that the show, while inspired by the people, places, and events of her early life growing up in Texas, is not

I walked into Soho Playhouse without knowing who Elouise Eftos was. I walked out wanting more. Her New York debut, “Australia’s First Attractive Comedian,” is a storm of laughter, playful irony, and pure stage energy. Eftos leans fully into the absurd premise of being a comedian whose defining trait is her looks, and then flips that premise inside out. The result is a night of comedy that is both self-aware and joyfully ridiculous. From the start, the audience is pulled into

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