Joan Marcus

Off-Broadway Review: “The Receptionist” at The Irene Diamond Stage at The Pershing Square Signature Center (Through Sunday, June 7, 2026)

May 19, 2026 | Off-Broadway > | "The Receptionist", Adam Bock, costume design by Enver Chakartash, David Roberts, Irene Diamond Stage, Joan Marcus, Katie Finneran (Beverly Wilkins), Lighting design by Stacey Derosier, Mallori Johnson (Lorraine Taylor), Nael Nacer (Edward Raymond), New York Theatre Reviews, Pershing Square Signature Center, Sarah Benson, Scenic Design by dots, sound design by Bray Poor, Theatre Reviews, Theatre Reviews Limited, Will Pullen (Martin Dart)

Adam Bock’s “The Receptionist” arrived in 2007 as a searing response to the Bush administration’s torture memos and the Abu Ghraib revelations. The play asked audiences to consider Hannah Arendt’s concept of the “banality of evil”—how ordinary people enable extraordinary harm through the simple machinery of their daily work. Beverly answers phones, brews coffee, and gossips with her colleague Lorraine…

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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: “Fallen Angels” at the Todd Haimes Theatre (Through Sunday, June 7, 2026)

The play “Fallen Angels” written by Noel Coward, originally premiered on Broadway nearly one hundred years ago in December of 1927. The second Broadway revival that is currently on stage at Roundabout Theatre Company’s Todd Haimes Theatre, comes seventy years after its first Broadway revival in 1956. This current production stars Rose Byrne as Jane Banbury and Kelli O’Hara as…

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Broadway Review: “GIANT” at the Music Box Theatre (Through Sunday, June 28, 2026)

“Giant,” the new play penned by Mark Rosenblatt that opened on Broadway refers to the well-known author of children’s books Roald Dahl. The word ‘Giant’ may pertain to Dahl standing six foot six inches in height, to his enormous status in the literary world, or to the giant who so often is sought after to be slain. In this case…

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Off-Broadway Review: “Public Charge” at the Public’s Newman Theater (Through Sunday, April 12, 2026)

March 28, 2026 | Off-Broadway > | "Public Charge", Al Rodrigo, Armando Riesco, costume design by Haydee Zelideth, Dan Domingues, David Roberts, Deirdre Madigan, dialect coaching by Rosie Berrido, Doug Hughes, dramaturgy by Jack Phillips Moore, hair and wigs design by Earon Chew Nealey, Joan Marcus, John J. Concado, Julissa Reynoso, lighting design by Ben Stanton, Maggie Bofill, Marinda Anderson, Molly Foy, Nairoby Otero, Nate Betancourt, New York Theatre Reviews, original music by Carlos Henriquez, Paco Lozano, prop management by Samantha Llanes Gordon, Roxana Khan, scenic design by Arnulfo Maldonado, sound design and original music by David Van Tieghem, The Newman Theater, The Public Theater, Theatre Reviews, Theatre Reviews Limited, video design by Lucy MacKinnon, Yesenia Iglesias, Zabryna Guevara

At the center of Julissa Reynoso and Michael J. Chepiga’s “Public Charge,” now at the Public Theater, are two marginalized women who understood something the State Department establishment did not: that fifty years of failed policy toward Cuba needed to change. Julissa Reynoso (Zabryna Guevara), a Dominican immigrant and Obama campaign veteran, and Cheryl Mills (Marinda Anderson), Hillary Clinton’s Chief…

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Off-Broadway Review: “Antigone (This Play I Read in High School)” at the Public Theater’s Barbaralee Theater (Extended through Saturday, April 4, 2026)

March 22, 2026 | Off-Broadway > | "Antigone (This Play I Read in High School)", Anna Ziegler, Barbaralee Theater, Calvin Leon Smith (Haemon), Caroline Englander, Celia Keenan-Bolger (Chorus), costume design by Enver Chakartash, Dave Quay (Cop 2/Palace Guard), David Roberts, hair wigs and makeup design by Robert Pickens and Katie Gell, Haley Wong (Ismene), includes Ethan Dubin (Cop 3/Achilles), Joan Marcus, Julie Congress and Andrew Wade, Katie Kreisler (Cop 1/Proprietor), Katie Young, Kelsey Rainwater, lighting design by Jen Schriever, Lillis Meeh, New York Theatre Reviews, Patrick Mulryan, Prop management by Claire M. Kavanah, scenic design by David Zinn, sound design and composition by Daniel Kluger, Susannah Perkins (Antigone), The Public Theater, Theatre Reviews, Theatre Reviews Limited, Tony Shalhoub (Creon), Tyne Rafaeli

Anna Ziegler’s “Antigone (This Play I Read in High School),” currently at the Public Theater’s Barbaralee Theater, is not the Sophocles tragedy I taught in high school—but then again, neither is James Ijames’s Pulitzer Prize-winning “Fat Ham” the Hamlet Shakespeare wrote. The difference is that Ijames trusts his reimagining enough to tell his story without constantly stopping to explain it….

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Off-Broadway Review: “Ulysses” at the Public Theater’s Martinson Hall (Closed Sunday, March 1, 2026)

“Parsing Joyce: ERS’s ULYSSES Demonstrates Without Embodying” Good readers create images as they navigate dense text, constructing a personal vision of the world on the page. Elevator Repair Service’s production of James Joyce’s “Ulysses,” currently playing at the Public Theater’s Martinson Hall, offers the company’s own kaleidoscopic image of Joyce’s epic novel—a playful, fragmented encounter with one of modernism’s most…

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Broadway Review: Second Stage’s “Marjorie Prime” at the Helen Hayes Theatre (Closed Sunday, February 8, 2026)

December 12, 2025 | Broadway > | "Marjorie Prime", Anne Kauffman, Christopher Lowell, costume design by Márion Tálan de la Rosa, Cynthia Nixon, Danny Burstein, David Roberts, Joan Marcus, Jordan Harrison, June Squibb, lighting design by Ben Stanton, New York Theatre Reviews, scenic design by Lee Jellinek, sound design and original music by Daniel Kluger, Theatre Reviews, Theatre Reviews Limited

Where do our memories go when we die? Jordan Harrison’s “Marjorie Prime,” now receiving its Broadway premiere at the Helen Hayes Theatre, asks this question with stunning simplicity and devastating honesty. In Harrison’s near-future, holographic AI companions called “Primes” serve as repositories for family stories, programmed by the living to remember what we tell them—and only what we tell them….

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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: “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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