Off-Broadway

Off-Broadway Review: “The Seat of Our Pants” at the Public’s Newman Theater (Closed Sunday, December 7, 2025)

November 24, 2025 | Off-Broadway > | "Seat of Our Pants", "The Skin of Our Teeth", Alex Luong, Allison Ann Kelly, Ally Bonino, Amina Faye, Andy Grotelueschen, Angela Travino, Ben Beckley, Bill Buell, Caroline Englander, Cole Burden, costume design by Kaye Voyce, Damon Daunno, Daniel Kluger, David Roberts, David Ryan Smith, Ethan Lipton, fight direction by Jordan Laroya, Geena Quintos, Joan Marcus, Kelly Belarmino, Leigh Silverman, León Ramos Tak, lighting design by Lap Chi Chu, Micaela Diamond, Michael Lepore, Nat Lopez, Nathan Koci, New York Theatre Reviews, Newman Theater, Prop management by Claire M. Kavanah, Public Theater, Ruth E. Sternberg, Ruthie Ann Miles, Sarah Lunnie, scenic design by Lee Jellinek, Shelley Miles serves as stage manager, Shuler Hensley, sound design by Drew Levy, Theatre Reviews, Theatre Reviews Limited, Thornton Wilder, Tomoko Akaboshi

Thornton Wilder wrote “The Skin of Our Teeth” in 1942 as the world burned. Ethan Lipton’s musical adaptation “The Seat of Our Pants,” now at the Public Theater, arrives as history repeats itself with eerie precision. The Announcer’s opening number catalogs our contemporary disasters—”We made it through the recession-pandemic-wildfire-oligarchy by the seat of our pants”—and suddenly Wilder’s absurdist chronicle of…

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Off-Broadway Review: “Nothing Can Take You from the Hand of God” at Playwrights Horizons’ Peter Jay Sharp Theater (Closed Sunday, November 16, 2025)

October 22, 2025 | LGBTQ+, Off-Broadway, Queer > | “Nothing Can Take You from the Hand of God”, Amith Chandrashaker (Lighting Designer), David Roberts, Emmie Finckel (Scenic Designer), Evdoxia Ragkou (Sound Designer), Frank Winters, Jared Mezzocchi, Jen Tullock, Jenny Kennedy, Maria Baranova, New York Theatre Reviews, Stefania Bulbarella (Projection and Video Designer), Theatre Reviews, Theatre Reviews Limited

Jen Tullock’s “Nothing Can Take You from the Hand of God” has been hailed as a searing examination of how evangelical Christianity wounds its queer children. Critics have called it “the best solo show in years,” praising Tullock’s tour-de-force performance as she embodies multiple characters to tell the story of Frances Reinhardt, a writer whose memoir about growing up gay…

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Off-Broadway Review: “Other” at Greenwich House Theatre (Closed Saturday, December 6, 2025)

October 21, 2025 | LGBTQ+, Off-Broadway, Queer > | "Other", Allison Madrazo, Ari’el Stachel, Greenwich House Theatre, Joseph Verlezza, LaChanze Productions, LGBTQ, New York Theatre Reviews, scenic design by Afsoon Pajoufar; lighting & projections design by Alexander V. Nichols, ShowTown Theatricals, sound design by Madeleine Oldham, Theatre Reviews, Theatre Reviews Limited, Tony Taccone

A new solo show has opened at the Greenwich House Theater, written and performed by Ari’el Stachel, who won the Tony award for best supporting actor in the musical, “The Band’s Visit.” It is not a “coming out” story, but it is about his personal struggle with anxiety and his journey to “figure out” his identity. It started when he…

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Off-Broadway Review: “Oh Happy Day!” at the Public’s Martinson Hall (Closed Sunday, November 2, 2025)

October 21, 2025 | LGBTQ+, Off-Broadway, Queer > | "Oh Happy Day", Brian D. Coats (Lewis), choreography by Eboni Nichols, Cole Taylor (Understudy), Costume Design by Qween Jean, David Roberts, Donovan Louis Bazemore (Kevin), dramaturgy by Jack Phillips Moore, hair and wig design by Mia Neal, Jakob W. Plummer, Jayna Elise (Understudy), Joan Marcus, Jordan E. Cooper, Jordan E. Cooper (Keyshawn), Latrice Pace (Glory Divine), lighting design by Adam Honoré, makeup design by Kirk Cambridge Del-Pesche, Martinson Hall, Monét Thibou, music contracting by Sara Jacovino and Kristy Norter, music direction/supervision/orchestration/additional music by Daniel Rudin, New York Theatre Reviews, prop management by Samantha Llanes Gordon, Public Theater, scenic design by Luciana Stecconi, Sheléa Melody McDonald (Mighty Divine), sound design by Taylor J. Williams, Stevie Walker-Webb, Tamika Lawrence (Niecy), Theatre Reviews, Theatre Reviews Limited, Tiffany Mann (Holy Divine)

Jordan E. Cooper’s “Oh Happy Day!” at The Public Theater promises to explore whether a queer man rejected and abused by the church can choose his own happiness on his own terms. It’s a radical question that deserves a radical answer. But Cooper delivers a morality tale about earning God’s love through forgiveness and obedience instead. His protagonist Keyshawn (played…

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Off-Broadway Review: “Let’s Love!” at the Atlantic Theater Company (Closed Saturday, November 22, 2025)

The latest production to open at Atlantic Theater Company is “Let’s Love,” a trio of one-acts penned by Ethan Coen. No surprise the subject matter addressed is love, what love is, how to express love, or how people try to find love. It is a love fest where love is examined under many different circumstances. All three one-acts resemble short…

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Off-Broadway Review: “The Other Americans” at the Public’s Anspacher Theater (Closed Sunday, October 19, 2025)

Actor and comedian John Leguizamo makes his playwrighting debut at The Public Theater with “The Other Americans”, which may certainly be billed as a new American Tragedy. Although it may draw some similarities to “Death of a Salesman”, featuring a dominant patriarch and the disintegration of the American Dream, the comparison ends there. The head of the Latino family that…

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Off-Broadway Review: “The Honey Trap” at Irish Repertory Theatre (Closed Sunday, November 23, 2025)

“You could be dead tomorrow,” young Dave (Daniel Marconi) tells his army buddy Bobby (Harrison Tipping) during a night out in 1979 Belfast, justifying their reckless behavior. “Live in the moment.” Thirty-five years later, after Bobby’s murder, that moment has become the only moment that matters—an endless present tense of guilt, rage, and impossible choices. Leo McGann’s “The Honey Trap,”…

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Off-Broadway Review: “Saturday Church” at New York Theatre Workshop (Closed Friday, October 24, 2025)

September 24, 2025 | LGBTQ+, Off-Broadway, Queer > | "Saturday Church", Anania, B Noel Thomas, Bryson Battle, Caleb Quezon, Chris Penny, Costume Design by Qween Jean, Damani Van Rensalier, Damon Cardasis, Dava Huesca, Dave Anzuelo/Unkle Dave's Fighthouse, Deah Love Harriott, Erica Hart, features scenic design by David Zinn, Fernell Hogan, hair & wig design by Darius Thomas, J. Harrison Ghee, J'Quay Gibbs, Jackson Kanawha Perry, James iJames, Jhanaë K-C Bonnick, Joaquina Kalukango, Joseph Verlezza, Kareem Marsh, Kelsey Rainwater, Kristolyn Lloyd, LGBTQ, LGBTQ+ Youth, lighting design by Adam Honoré, Marc J. Franklin, Michael Samarie George, New York Theatre Reviews, New York Theatre Workshop, Nicholas Petrovich, NYTW, Oyoyo Joi, Primo Thee Ballerino, sound design by Gareth Owen, Theatre Reviews, Theatre Reviews Limited, Veyonce Deleon, Wade Watson, Whitney White

The new musical “Saturday Church” which is now playing at NYTW, is based on the 2017 film written and directed by Damon Cardasis, who also co-wrote the book for this production alongside James Ijames. This quasi-jukebox musical attempts to weave the music of Sia into the storyline, but it is also only quasi-successful in this endeavor. Too often the music…

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Off-Broadway Review: “The Brothers Size” at The Shed (Closed Sunday, September 28, 2025)

They are just three men in modern-day Louisiana – Ogun Size (André Holland), a mechanic; his ex-con brother Oshoosi Size (Alani iLongwe); and a charismatic drifter, Elegba (Malcolm Mays). But in playwright Tarrell Alvin McCraney’s hands, they are also gods wrestling with eternal questions about duty versus freedom, protection versus possession, and the price of keeping those we love safely…

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Off-Broadway Review: “Gene & Gilda” at 59E59 Theaters (Closed Sunday, September 7, 2025)

Loving Gene Wilder and Gilda Radner is easy. Making an audience care about them theatrically? That is the challenge “Gene & Gilda” never manages to meet. Any play about such strong and well-known characters must earn that emotional investment through good writing, strong performances, and compelling staging, regardless of how much audiences might adore Gene and Gilda in real life….

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