Queer

Off-Broadway News/Preview: PLAYWRIGHT JOHN J. CASWELL RETURNS TO PLAYWRIGHTS HORIZONS WITH “JEROME,’ A HAUNTING STORY OF GAY LOVE IN THE ARIZONA DESERT

May 29, 2026 | LGBTQ+, Off-Broadway, Queer > | "Jerome", "Wet Brain", Artistic Director Adam Greenfield, David Roberts, Dustin Wells, HIV/AIDS, John J. Caswell, Ken Barnett, New York Theatre Reviews, Playwrights Horizons, Stephen Spinella, Theatre Reviews, Theatre Reviews Limited, Tyrone Mitchell Henderson

John J. Caswell Jr.’s “Jerome” arrives at Playwrights Horizons this May as both a homecoming and a reckoning. The acclaimed playwright returns to the theater where his previous work “Wet Brain” earned critical acclaim, this time bringing a deeply personal story rooted in his own Arizona childhood—a play about two aging gay men living in isolation in a ghost town,…

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Theatre News: New York City Center Announces Complete Casting for Encores! “La Cage aux Folles”

Tony Award winner Tonya Pinkins joins the cast of La Cage Aux Folles (running June 17 – 28, 2026) as Jacqueline, along with Peter Francis James as Edouard, and Rachel Webb as Anne. They join previously announced Emmy Award winner Wayne Brady (Georges), Emmy, Grammy, and Tony winner Billy Porter (Albin), Encores! alum Alaman Diadhiou (Jean-Michel), James Jackson Jr. (Jacob),…

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Broadway Review: “The Lost Boys” at the Palace Theatre (Currently On)

April 26, 2026 | Broadway, LGBTQ+, Music, Queer > | "The Lost Boys", aerial design by Gwyneth Larsen and Billy Mulholland, Ali Louis Bourzgui (David), Benjamin Pajak (Sam Emerson), Brian Flores (Marko), Caissie Levy (Lucy Emerson), casting by The Telsey Office's Kristian Charbonier CSA, Chris Hoch, costume design Fisher, David Hornsby, David Roberts, Dean Maupin (Paul), dramaturgy by Jenna Clark Embrey, electronic music design by Billy Jay Stein and Hiro Ida for Strange Cranium, fight direction by Rick Sordelet and Christian Sordelet, general management by Bespoke Theatricals with Mark Kaufman as Creative Consultant, hair & wig design by David Brian Brown, Jennifer Duka (Alan Frog), LGBTQ, LJ Benet (Michael Emerson), make-up design by Christina Grant, Maria Wirries (Star), Matthew Murphy, Michael Arden, Miguel Gil (Edgar Frog), Music Coordination by Kristy Norter, music direction by Julie McBride, New York Theatre Reviews, Paul Alexander Nolan (Max), production management by Juniper Street Productions, scenic design by Tony Award winner Dane Laffrey, Sean Grandillo (Dwayne), The Rescues, Theatre Reviews, Theatre Reviews Limited

The prologue to “The Lost Boys,” the new musical adaptation of the 1987 Warner Bros. film now at the Palace Theatre, immediately signals Michael Arden’s dark ambitions for this material. A police officer investigates the abandoned Coronado Ironworks factory by flashlight, interrupted by Ronald Reagan’s voice on a flickering television extolling “the strength and integrity of the family.” Before the…

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Broadway Review: “The Rocky Horror Show” at Studio 54 (Currently On)

“The Rocky Horror Show” featuring a book, music and lyrics by Richard O’Brien, premiered at the Royal Court Theatre in 1973 and had its American debut in Los Angeles in 1974 where it ran for a successful nine months at several venues. It received a Broadway debut in 1975 at the Belasco Theatre but closed after three previews and forty-five…

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Broadway Review: “Schmigadoon!” at the Nederlander Theatre (Through Sunday, September 6, 2026)

April 22, 2026 | Broadway, LGBTQ+, Queer > | "Schmigadoon!", Afra, Alex Brightman, Ana Gasteyer, and Ashley Ryan (Makeup Design), Ann Harada, Ayaan Diop, Becca, Brad Oscar, Brandon Block, Christopher Gattelli, Cinco Paul, Clyde Alves, Donald Holder (Lighting Design), Isabelle McCalla, Ivan Hernandez, Jess LeProtto, Joseph Verlezza, Joshua Burrage, Kaleigh Cronin, Keven Quillon, Kimberly Immanuel, Lauralyn McClelland, LGBTQ, Linda Cho (Costume Design), Lyrica Woodruff, Maria Briggs, Matthew Lacey (Production Stage Manager), Matthew Murphy and Evan Zimmerman, Maulik Pancholy, Max Clayton, McKenzie Kurtz, Miles McNicoll, Nathan Lucrezio, New York Theatre Reviews, Richard Riaz Yoder, Sara Chase, Scott Pask (Scenic Designer), Shina Ann Morris, The Nederlander Theatre, Theatre Reviews, Theatre Reviews Limited, Tom Watson (hair and wig design), Walter Trarbach (Sound Design), Zachary Downer

You don’t need an extensive knowledge about Golden Age Broadway musicals to thoroughly enjoy “Schmigadoon” which recently opened on Broadway, but it can enhance your enjoyment. Those who were fans of the television series will flock to see the live performance at the Nederlander Theatre starring Alex Brightman and Sara Chase, and directed by Christopher Gattelli. Book, Music and Lyrics…

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Broadway Review: “The Balusters” at Manhattan Theatre Club’s Samuel J. Friedman Theatre (Currently On)

April 21, 2026 | Broadway, LGBTQ+, Queer > | "The Balusters", Allen Lee Hughes (Lighting Design), Anika Noni Rose, Caparelliotis Casting & Kelly Gillespie (casting), Carl Clemons-Hopkins, Dan Moses Schreier (Original Music and Sound Design), David Lindsay-Abaire, David Roberts, Deborah Hecht (Vocal Coach), Derek McLane (Scenic Design), Emilio Sosa (costume design), Ioana Alfonso (Movement & Associate Director), J. Jared Janas (Hair & Make-up Design), Janette Braggs (Stage Manager), Jeena Yi, Jeremy Daniel, Kayli Carter, Kenny Leon, Manhattan Theatre Club, Margaret Colin, Maria-Christina Oliveras, Marylouise Burke, Michael Esper, New York Theatre Reviews, Ricardo Chavira, Richard Thomas, Samuel J. Friedman Theatre, Theatre Reviews, Theatre Reviews Limited, Thomas Schall (Fight Direction), Tripp Phillips (Production Stage Manager)

Balusters are the decorative posts that support a porch railing – without them, the whole structure collapses. In David Lindsay-Abaire’s wickedly sharp “The Balusters,” now at Manhattan Theatre Club’s Samuel J. Friedman Theatre, the title works both literally and metaphorically. The Vernon Point Neighborhood Association spends considerable energy debating historically appropriate balusters for the Crawfords’ front porch, but what they…

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Broadway Review: “Titanique” at the St. James Theatre (Through Sunday, July 12, 2026)

The musical “Titanique,” a parody of the well-known movie “Titanic,” has managed to dock at the Broadway stage of the St. James Theatre after it set sail from Los Angeles in 2017. It made a couple of stops at the Green Room for its New York premiere in 2018, and then berthed for three years at the off-Broadway, Asylum Theatre,…

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Broadway Mini-Review: “CATS: The Jellicle Ball” at the Broadhurst Theatre (Currently On)

April 10, 2026 | Broadway, LGBTQ+, Music, Queer > | "Tempress" Chasity Moore (she/her), Adam Honoré (Lighting Design), André De Shields (he/him), Ann James (sensitivity specialist), B Noel Thomas (she/her), Baby Byrne (she/her), Baseline Theatrical serves as general managers for “CATS: The Jellicle Ball.”, Bebe Nicole Simpson (she/her), Brittany Bland (projection design), Bryce Farris (he/him), Bryson Battle (he/they), Chelsey Arce (Associate Choreographer), Cody Renard Richard (production stage manager), Cooper Howell and N'yomi Allure Stewart (associate directors), CSA (casting director), CSA and Sujotta R. Pace, Dava Huesca (she/her), Donté Nadir Wilder (he/him, Doug Schadt (music producer), Dudney Joseph, Emma Sofia (she/her), Garnet Williams (she/they), Jonathan Burke (he/him), Josephine Kearns (dramaturg & gender consultant), Jr. (he/him), Junior LaBeija (he/him), Kai Harada (Sound Design), Kalyn West (they/them), Ken Ard (he/him), Kendall Grayson Stroud (she/they), Kya Azeen (she/her), Leiomy (she/her), Michael Samarie George (assistant choreographer), Nora Schell (they/them), Paul Kieve (magic), Phumzile Sojola (he/him), Primo Thee Ballerino (he/him), Qween Jean (costume design), Rachel Hauck (scenic design), Rania Zohny (makeup design), Robert "Silk" Mason (they/them), she/her), Sherrod T. Brown (he/him), Special Tony Award recipient Nikiya Mathis (hair and wig design), Sydney James Harcourt (he/him), Tara Lashan Clinkscales (she/her), Teddy Wilson Jr. (she/they), Trevor Holder (beats arranger/producer), William Waldrop (music supervisor and music director), X Casting: Victor Vazquez, Xavier Reyes (he/him)

When we saw “Cats: The Jellicle Ball” at PAC NYC last summer, the production didn’t work. The audience overpowered the performers – whooping, hollering, stomping on wooden risers until the vocals were buried and the show became chaos. We left disappointed despite the concept’s promise. The Broadway transfer at the Broadhurst Theatre solves every problem. We loved this production. The…

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Broadway Mini-Review: “Dog Day Afternoon” at the August Wilson Theatre (Through Sunday, July 12, 2026)

April 1, 2026 | Broadway, LGBTQ+, Queer > | "Dog Day Afternoon", Alex J. Gould, Andrea Syglowski, as well as Michael Kostroff, August Wilson Theatre, Barclay Stiff, Brian D. Coats, Carmen Zilles, Christopher Sears, costume design by Brenda Abbandandolo, Danny Johnson, David Roberts, Dom Martello, Ebon Moss-Bachrach, Elizabeth Canavan, Esteban Andres Cruz, hair and wig design by Leah J. Loukas, Jeff Still, Jessica Hecht and Spencer Garrett, John Ortiz, Jon Bernthal, lighting design by Isabella Byrd, makeup design by Katie Gell, Matthew Murphy and Evan Zimmerman, Michael Puzzo, Michael Shayan, New York Theatre Reviews, Paola Lázaro, Rupert Goold, scenic design by David Korins, sound design by Cody Spencer, Stephen Adly Guirgis, The Telsey Office, Theatre Reviews, Theatre Reviews Limited, Wilemina Olivia-Garcia

Eleven shows. Eleven days. Welcome to April’s theatrical marathon. What follows are compressed reviews – 300 words each, five shows per roundup – covering everything we’ve seen for Outer Critics Circle nominating and voting purposes. The format is leaner, but the critical standards remain unchanged: what works, what doesn’t, and why it matters. “ATTICA! ATTICA!” Sonny Amato’s battle cry turned…

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Off-Broadway Review: “About Time” at the Marjorie Deane Little Theatre (Through Sunday, April 5, 2026)

It has taken a very long time, actually 27 years, but Richard Maltby and David Shire have decided that it was “About Time,” their new musical revue, that completes the trilogy which began with “Starting Here, Starting Now” in 1976, followed by “Closer Than Ever” in 1989. It is about life in its third act, getting older and dealing with…

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