‘BEACHES’: Kelli Barrett & Jessica Vosk. Photo: Marc J. Franklin.

BEACHES: A NEW MUSICAL
Book by Iris Rainer Dart & Thom Thomas
Music by Mike Stoller
Lyrics by Iris Rainer Dart
Directed by Lonny Price & Matt Cowart
Through May 24, 2026
Majestic Theatre
245 W 44th St.
https://beachesthemusical.com/

By Scott Harrah

The beloved 1988 hit “chick flick” Beaches, starring Bette Midler and Barbara Hershey, arrives on Broadway as a new musical. Composer Mike Stoller provides the score, while Iris Rainer Dart returns to write the book and lyrics. The film was a box-office blockbuster. However, does this adaptation hold up, and does the story still resonate nearly 40 years later?

An iconic film like Beaches does not need reinvention. It needs restraint. The musical closely follows the original emotional blueprint. It traces a lifelong friendship shaped by ambition, class differences, loyalty, and loss. As a result, longtime fans will find much that feels familiar. At the same time, the show offers enough theatricality and vocal power to engage new audiences. Still, the shift from cinematic intimacy to stage spectacle raises a key question: Can a quiet, deeply personal story sustain itself when the emotions must carry the narrative through song?

Beaches follows more than 30 years of friendship between Cee Cee Bloom (Jessica Vosk) and Bertie White (Kelli Barrett). Cee Cee is brassy and ambitious. Bertie is shy and comes from a wealthy, conservative family.

Under the boardwalk

As in the film, the story chronicles the two women from a childhood meeting on the Atlantic City boardwalk through years of letters, reunions, and diverging paths. Cee Cee pursues show business with relentless drive. Meanwhile, Bertie searches for identity beyond her family’s expectations. She dreams of becoming a lawyer and navigates love, marriage, and motherhood.

Scenes featuring the younger versions of Cee Cee and Bertie stand out. Mayim Bialik famously got her start as Little Cee Cee. Here, Samantha Schwartz and Zeya Grace deliver engaging performances. The young actors feel natural and well-cast. As a result, they ground the early scenes with warmth and authenticity. However, from a mid-orchestra seat, some dialogue and lyrics are difficult to understand.

As the years pass, the two women drift together and apart. Their friendship reflects ambition, circumstance, and the different lives they choose. Cee Cee remains driven by her career. In contrast, Bertie seeks stability while wrestling with her own sense of identity.

Mama’s girls

Both women feel the strong influence of their mothers. Leona (Sarah Bockel), Cee Cee’s mother, is flashy and boisterous. She favors garish clothes and Yiddish-inflected humor. She is like a Jewish Mama Rose, pushing her daughter toward stardom at any cost. Meanwhile, Bertie’s mother Rose (Lael Van Keuren) is the quintessential patrician “WASP,” controlling and icy. She dismisses Cee Cee as “vulgar” and insists Bertie marry well. Ms. Bockel delivers strong comic energy. At the same time, Ms. Van Keuren gives the role a haughty, imperious edge.

The relationship between Cee Cee and Bertie cycles through closeness and conflict. Long stretches of separation follow. Letters and reunions reconnect them. Ultimately, the story leans into sentimentality in its final act. The emotional arc feels familiar. Its success depends on how well the production earns those moments.

‘BEACHES’: Jessica Vosk & cast. Photo: Marc J. Franklin.

The old razzle-dazzle

The show opens with Cee Cee’s TV variety-show number, “You Believe in Me.” Jessica Vosk belts the song alongside backup singers. The staging recalls Bette Midler’s early work with the Harlettes. It also evokes the glossy look of “The Sonny & Cher Comedy Hour.” Iris Rainer Dart once wrote for that series, which makes the reference feel intentional. The number sets a razzle-dazzle theatrical tone from the start.

Vosk commands the stage immediately. She delivers powerhouse vocals and a brassy confidence that fits Cee Cee perfectly.

Star turns & spotlight moments

Jessica Vosk and Kelli Barrett anchor the show. Both bring strong acting chops and emotional weight. Their voices are powerful and expressive. Songs like “My Best” highlight their range and control.

Brent Thiessen plays John Perry with charm and complexity. He creates a character who attracts and unsettles Bertie. Ben Jacoby plays Michael Barron, the wealthy suitor favored by Bertie’s mother. He represents the “appropriate” match she expects.

Where it washes ashore

Lonny Price and Matt Cowart direct the production. The show runs over two and a half hours with an intermission. As a result, it feels long, especially in the first act. The directors extract strong performances from the cast. However, the material would benefit from tighter editing. Several scenes and songs could be trimmed.

The adaptation stays faithful to its source. It delivers the expected emotional beats. Still, the heavy use of flashbacks creates challenges. Onstage, time shifts feel abrupt at times. The musical feels more like a translation than a reinvention. The episodic structure across the years seems rushed, a problem that is common with epic films turned into musicals.

The show also reflects a familiar creative pattern. Iris Rainer Dart’s earlier 2011 World War II musical, The People in the Picture, used similar themes. Both works blend memory, humor, tragedy, and Jewish cultural identity. At times, sentimentality dominates. The tone feels heightened, with emotions pushed beyond what the material earns.

The finale, set to “Wind Beneath My Wings,” embraces spectacle. The staging is visually striking and slightly camp in a fun way. Multiple versions of Cee Cee and Bertie appear together, including the younger performers. The moment is a crowd-pleaser. However, a tighter journey would make the payoff stronger. Beaches is a fun musical that makes waves but struggles to stay afloat.

Published April 22, 2026
Reviewed at press preview on April 17, 2026.

‘BEACHES’: Jessica Vosk & Kelli Barrett. Photo: Marc J. Franklin.

‘BEACHES’: Jessica Vosk & Kelli Barrett. Photo: Marc J. Franklin.

‘BEACHES’: Zeya Grace (left) & Samantha Schwartz. Photo: Marc J. Franklin.

‘BEACHES’: Jessica Vosk. Photo: Marc J. Franklin.

‘BEACHES’: Kelli Barrett. Photo: Marc J. Franklin.

‘BEACHES’: Brent Thiessen & Ben Jacoby. Photo: Marc J. Franklin.

‘BEACHES’: Kelli Barrett (center) & cast. Photo: Marc J. Franklin.

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‘SEAGULL:TRUE STORY’: (left to right) Eric Tabach, Elan Zafir & Andrey Burkovskiy. Photo: Kir Simakov.

SEAGULL: TRUE STORY
By Eli Rarey
Created & directed by Alexander Molochnikov
Through May 3, 2026
LuEsther Hall at the Public Theater
425 Lafayette Street
https://publictheater.org/productions/season/2526/seagull-true-story/

By Scott Harrah

Seagull: True Story ranks among the most topical productions now playing in New York, following sold-out runs in 2025 at New York’s La MaMa and London’s Marylebone Theatre. It reflects the grim realities of war in both Ukraine and the Middle East in 2026. However, it avoids being a straightforward political drama. Instead, it filters these tensions through a darkly comic and theatrical lens.

From Russia, with no love lost

Alexander Molochnikov creates and directs the production, while Eli Rarey provides the script. Together, they draw on real-life experience. They reshape it into something surreal and meta-theatrical. In Moscow in February 2022, Kon (Eric Tabach),  a young director, attempts to stage The Seagull as political forces close in and the “special military operation” in Ukraine unfolds. As a result, the lines among art, identity, and survival begin to blur.

As a result, the piece feels immediate and disorienting. War does not sit in the background. Rather, it invades the creative process. It shapes what artists can say, who can speak, and what risks they must take.

Performing on the edge

The ensemble handles the shifting tone with precision. They move easily from satire and drama to absurdity.

Most notably, Andrey Burkovskiy dominates as the emcee. He steals nearly every scene. His manic delivery, sharp timing, and fearless physical comedy drive much of the show’s momentum. His pratfalls land perfectly. Moreover, his farcical take on a Russian entertainer feels both hilarious and pointed. The irony adds another layer, since Mr. Burkovskiy himself is Russian.

In addition, he delivers a series of rapid transformations. At one moment, he plays an American producer. Next, he appears as a shirtless Vladimir Putin riding a horse. Then, he dances wildly at a disco. These moments heighten the show’s absurdist edge and keep the audience off balance.

Meanwhile, Eric Tabach anchors the production as Kon. He plays the director who risks everything by leaving Russia (and his work behind) to pursue freedom in New York. Mr. Tabach brings clarity and emotional weight to the role. As a result, he grounds the production’s more chaotic elements. He captures both ambition and loss with precision.

Similarly, Zuzanna Szadkowski delivers one of the evening’s most moving performances as Olga, Kon’s mother. At first, she appears cold and demanding. She plays an imperious Arkadina in The Seagull. She criticizes her son and rejects his decision to leave Russia. However, her emotional distance gradually softens. After visiting him in New York, she begins to understand his choice. In the second act, Ms. Szadkowski reveals remarkable depth. Her performance becomes layered, intimate, and deeply affecting.

Meanwhile, Gus Birney brings vibrant energy to Nico. She captures the spirit of a restless, bohemian actress searching for purpose. Ms. Birney blends spunk with emotional openness. Consequently, Nico feels authentic rather than idealized. In her final scene with Kon, Ms. Birney delivers one of the production’s most powerful moments.

Finally, Elan Zafir creates a haunting portrayal of Anton. His performance builds with quiet control. As the character’s fate unfolds, Mr. Zafir underscores the production’s darkest themes. He avoids excess and instead delivers a restrained, deeply human performance that lingers.

The ‘Method’— and the madness

The pacing feels deliberately frenetic. At times, it becomes experimental. Occasionally, it turns interactive. For example, the emcee invites the audience to shout a two-word expletive (best experienced live).

At the same time, the production moves quickly across locations. It jumps from Moscow to a Manhattan subway station to a Bushwick loft. These shifts create constant motion. They also mirror the instability within the story.

Even so, director Alexander Molochnikov maintains control. He keeps the production cohesive, even during its most chaotic moments. He also draws strong performances across the ensemble. In addition, he makes the most of Eli Rarey’s clever and thought-provoking script, even when it feels messy or fragmented.

At first, this reviewer approached the production with hesitation. Chekhov has never been a particular favorite. A prior Broadway Seagull starring Kristin Scott Thomas left a lasting impression, particularly for its plodding pace. However, this production quickly shifts expectations. Rather than revere Chekhov, it challenges him. It pokes fun at The Seagull. At one point, a female character named Pickle (Keshet Pratt) pointedly asks of Chekhov, “So we’re just worshipping at the feet of some dead white male author?”—a line that neatly encapsulates the production’s irreverent stance toward theatrical tradition. The play also sends up the traditions of the renowned Russian theater practitioner Konstantin Stanislavski.

At times, the production may remind audiences of Cabaret. In both works, performance unfolds against a backdrop of political unease. Likewise, the presence of LGBTQ identity within a repressive environment adds urgency. In particular, a gender-bending character named Gorgeous (Ohad Mazor) appears in androgynous clothing—something that would likely not be tolerated in Putin’s Russia, where even expressions of gender nonconformity are policed. These elements deepen the emotional and political stakes.

The price of freedom

Ultimately, Seagull: True Story succeeds because it balances urgency with invention. The script feels sharp and incisive. It confronts difficult realities without losing its sense of humor.

At the same time, the direction remains innovative and controlled. Together, these elements create a production that feels both timely and surprising.

In a season of familiar titles, Seagull: True Story stands apart. It speaks directly to the present moment and the price of freedom. More importantly, it asks why—and how—we continue to create art during times of crisis.

Published March 31, 2026
Reviewed at press performance on March 28, 2026.

‘SEAGULL: TRUE STORY’: Elan Zafir & Gus Birney. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Eric Tabach & Zuzanna Szadkowski. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Andrey Burkovskiy. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Eric Tabach & Elan Zafir. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Gus Birney. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Elan Zafir. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Ohad Mazor, Myles J. McCabe & cast. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: The cast. Photo: Kir Simakov.

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‘BUG’: (left to right) Carrie Coon, Jennifer Engstrom, Steve Key & Namir Smallwood. Photo: Matthew Murphy.

BUG
By Tracy Letts
Directed by David Cromer
Through March 8, 2026
Manhattan Theatre Club at the Samuel J. Friedman Theatre
261 West 47^th Street
(212) 239-6200
https://www.manhattantheatreclub.com/shows/2025-26-season/bug/

By Scott Harrah

Bug may sound like the title of a schlocky 1970s exploitation horror film, but it is, in fact, a solid psychological thriller and one of the earlier plays by Pulitzer Prize– and Tony Award–winning playwright Tracy Letts. Originally produced in Chicago in 1996, the play later ran for nearly a year at the Barrow Street Theatre in New York from 2004 to 2005. Now revived on Broadway, Bug arrives in a riveting production that proves its unsettling power has not diminished. Nearly three decades later, the play remains a socially relevant suspense drama focused on drug abuse, paranoia, conspiracy theories, and psychological collapse.

Motel room from hell

The action unfolds almost entirely inside a rundown Oklahoma motel room—something like Alfred Hitchcock’s Psycho relocated to the Great Plains. “White Lotus” star and Tony nominee Carrie Coon (Who’s Afraid of Virginia Woolf?) plays Agnes White, a waitress with a drug problem and a troubled past. Coon’s portrayal of a woman in free fall is instantly powerful and haunting. It is difficult to look away as Agnes spirals, her profanity-laced dialogue revealing someone crying out for help while lacking the means to save herself.

Agnes soon meets Peter Evans (Namir Smallwood), a quirky drifter and Gulf War veteran who seems highly educated, his elaborate vocabulary hinting at intelligence, yet also mentally erratic. From there, the two develop a romantic attraction. As they grow closer, their relationship intensifies, revealing psychological fractures and dark secrets on both sides.

The exes

Two additional characters further complicate Agnes’ fragile reality. Her ex-partner and drug dealer, R.C. (Jennifer Engstrom), reinforces dependency while maintaining control through access to drugs, money, and a false sense of protection.

Agnes is also shaken by the sudden reappearance of her ex-husband Jerry Goss (Steve Key), a loud, abusive presence from her past. Jerry represents the danger Agnes already understands—immediate, physical, and unmistakably real—a threat that makes the play’s later paranoia feel less like a rupture than an extension of what she already knows.

Paranoia or reality?

Much of Bug centers on Peter’s belief that the motel room is infested with bugs—first bed bugs, later parasitic aphids implanted beneath the skin. Agnes soon adopts these fears as her own. As the story progresses, however, it becomes clear that neither Peter nor Agnes has a firm grasp on reality. Matters grow even more unsettling with the arrival of Dr. Sweet (Randall Arney), a mysterious figure claiming to be a military doctor who appears to understand both Peter and the alleged infestation.

Fine ensemble

With the action confined to a single space, Bug depends heavily on its ensemble to anchor the production.

Carrie Coon’s Agnes is both dynamic and arresting, capturing a woman whose loneliness and fragility leave her susceptible to nearly everyone in her path. Back in 2012, when Coon appeared in Edward Albee’s Who’s Afraid of Virginia Woolf?, this reviewer described her performance as Honey as “manic virtuosity from start to finish.” Fourteen years later, Ms. Coon has sharpened her skills even further, delivering one of this Broadway season’s most physically punishing and relentlessly demanding performances. She is very much an actor at the top of her game.

As Peter, Namir Smallwood brings skillfully restrained and unnerving conviction to a role that demands sustained psychological pressure. His performance balances intimidation with moments of intimacy, allowing Peter’s beliefs to feel sincere even as they grow increasingly outlandish and chart his descent into madness. Together, Ms. Coon and Mr. Smallwood sustain the play’s escalating tension, their dynamic tightening as skepticism gives way to shared certainty.

Great supporting cast

The supporting cast complements the ensemble with equally assured performances.

Jennifer Engstrom gives R.C. a hard-boiled edge that never fully eclipses her concern for Agnes. Though clearly a corrosive influence, Ms. Engstrom suggests a long history of loyalty beneath the bravado. Her R.C. feels less like a villain than a deeply compromised lifeline to the outside world—someone capable of care, but unequipped to offer real help.

Steve Key is sharply effective as Jerry Goss, playing Agnes’ ex-husband as a loud, domineering presence driven by entitlement rather than affection. His scenes crackle with aggression, while Randall Arney’s Dr. Sweet provides a cooler counterbalance. Mr. Arney’s composed authority briefly promises clarity before the story veers toward a more tragic conclusion.

Superb direction and set design

Bug relies heavily on pacing and atmosphere, and director David Cromer keeps the tension tightly coiled throughout, never allowing the production to tip into cheap sensationalism. Takeshi Kata’s scenic design turns the motel room into more than a mere setting, while Heather Gilbert’s lighting and Josh Schmidt’s eerie sound design heighten the sense of claustrophobia and psychological confinement. Together, the visual and sonic elements reinforce the characters’ unraveling and the play’s pervasive sense of dread.

Quietly compelling revival

In the end, Bug proves far more complex than its pulpy title might suggest. While it may not rank as Tracy Letts’ finest play, what begins with the trappings of genre drama ultimately unfolds as a stark examination of belief, isolation, and human fragility. Written long before such thinking felt culturally familiar, Bug reveals Letts’ understanding of how fear can evolve into rigid, all-encompassing belief—an insight he would later expand in August: Osage County, his portrait of a very different, yet equally fractured, American family. For all its discomfort, Bug proves quietly compelling in this Broadway revival.

Published January 11, 2026
Reviewed at press performance on January 9, 2026.

‘BUG’: Carrie Coon. Photo: Matthew Murphy.

‘BUG’: Namir Smallwood. Photo: Matthew Murphy.

‘BUG’: Steve Key & Namir Smallwood. Photo: Matthew Murphy.

‘BUG’: (top photo) Jennifer Engstrom & Carrie Coon. (Bottom) Namir Smallwood. Photos: Matthew Murphy.

‘BUG”: (top) Steve Key & Namir Smallwood. (Bottom) Carrie Coon. Photos; Matthew Murphy.

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‘MARJORIE PRIME’: June Squbb. Photo: Joan Marcus.

MARJORIE PRIME
By Jordan Harrison
Directed by Anne Kauffman
Through February 15, 2026
Second Stage at the Hayes Theater
240 West 44th Street
https://2st.com/shows/marjorie-prime
 

By Scott Harrah

AI (artificial intelligence) is everywhere in our lives in the 21st century. Despite all its hype, many contend that AI cannot truly replicate humans—human emotion in particular. Or can it? This is one of many thought‑provoking questions playwright Jordan Harrison poses in the sublime Broadway revival of his 2014 science‑fiction drama, Marjorie Prime.

The play takes place in the not‑too‑distant future, about 37 years from now, in 2062. Marjorie (Oscar nominee June Squibb) is an 85‑year‑old widow experiencing memory issues. Lonely and still coping with the loss of her husband Walter, she is introduced by her family to a “Prime”—a high‑tech AI projection designed to mimic her late spouse. Primes are not robots, but advanced technological recreations that look, speak, and sound human. The play opens with Marjorie in conversation with Walter, revisiting fragments of their shared past.

Blast from the past

Marjorie pours her heart out to the Prime, recalling memories in bits and pieces. The Prime absorbs these recollections and helps her refine and reorganize her thoughts about life with Walter. But are these memories truly fixed? Can they be edited, altered, or even erased altogether?

At the center of this debate are Marjorie’s middle‑aged daughter Tess (Cynthia Nixon) and son‑in‑law Jon (Danny Burstein), who approach the Prime from opposing emotional viewpoints. Tess worries about the psychological toll of her mother bonding with a technological stand‑in for a deceased spouse, while Jon sees the Prime as a compassionate solution to Marjorie’s loneliness. These conflicting perspectives generate a steady undercurrent of tension throughout the play’s brief 85‑minute running time.

Parable about humanity & technology?

On the surface, Marjorie Prime may resemble an ethical parable about humanity and technology. While that theme is certainly present, Harrison’s play is ultimately more concerned with aging, grief, and how families process loss. The differing perspectives of Marjorie, Tess, and Jon lend the story a sustained sense of dramatic tension, raising questions about memory, truth, and the ways humans adapt—emotionally and morally—to rapidly advancing technology.

June Squibb & Cynthia Nixon shine

June Squibb, at age 96, has received understandable media attention for being one of the oldest actors to perform on Broadway, but it is her commanding stage presence and remarkably fluid approach to Marjorie that make her performance so compelling. With apparent ease, Squibb pivots between wit and cantankerousness, irritation and moments of forgetfulness, allowing each emotional shift to feel organic and unforced. She not only brings Marjorie vividly to life but also strengthens the performances around her.

Cynthia Nixon delivers one of her strongest stage performances to date. She brings sharp emotional clarity to Tess, grounding the play’s futuristic premise in recognizable human anguish. Ms. Nixon captures Tess’s anger, vulnerability, and deep emotional fatigue, particularly in scenes shaped by grief and unresolved memory. Her tightly coiled anxiety stands in sharp contrast to Marjorie’s more easygoing temperament.

Danny Burstein & Christopher Lowell

Danny Burstein offers a warm, grounded performance as Jon, Tess’s husband, approaching the role with empathy and restraint. He allows Jon’s quiet frustration to surface naturally, giving the character a relatable humanity. Together with Squibb and Nixon, Burstein helps anchor the play’s emotional stakes.

Completing the ensemble, Christopher Lowell strikes a careful balance as Walter Prime. He suggests warmth and familiarity while maintaining a subtly unsettling emotional distance, reinforcing the character’s artificial nature without tipping into caricature.

Dynamic direction

Director Anne Kauffman skillfully guides the ensemble, allowing each performance to register clearly while maintaining tonal balance. She never lets the drama drift into sentimentality or melodrama, keeping the production emotionally resonant yet controlled.

Marjorie Prime is a provocative and deeply affecting play, and one of the year’s best. It speaks thoughtfully to the accelerating presence of AI in modern life and humanity’s uncertain ability to keep up with it. The play ultimately suggests that emerging technologies need not be inherently frightening; they may someday help shape how we choose to remember our lives—and one another.

Published December 15, 2025
Reviewed at press performance on December 11, 2025

‘MARJORIE PRIME’: June Squbb & Cynthia Nixon. Photo: Joan Marcus.

‘MARJORIE PRIME’: Christopher Lowell & June Squibb. Photo: Joan Marcus.

‘MARJORIE PRIME’: Danny Burstein & Cynthia Nixon. Photo: Joan Marcus.

‘MARJORIE PRIME’: Christopher Lowell. Photo: Joan Marcus.

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‘GRUESOME PLAYGROUND INJURIES’: Nicholas Braun & Kara Young. Photo: Emilio Madrid.

GRUESOME PLAYGROUND INJURIES
By Rajiv Joseph
Directed by Neil Pepe
Through December 28, 2025
Lucille Lortel Theatre
121 Christopher St.
https://www.gruesomeplaygroundinjuries.com/

By Scott Harrah

Love literally hurts in this powerful revival of Rajiv Joseph’s one-act play Gruesome Playground Injuries at the Lucille Lortel.

Mr. Joseph’s two-character play was last produced in New York in 2011 at Second Stage Theatre, starring Pablo Schreiber and Jennifer Carpenter. Now, Tony-nominated director Neil Pepe has brought the show back to Off-Broadway with two acting powerhouses in the lead roles: two-time Tony Award winner Kara Young (Purpose and Purlie Victorious) and three-time Emmy Award nominee Nicholas Braun (“Succession”), playing Kayleen and Doug, respectively. Over a 30-year span, we see how the childhood friends’ lives intersect through a series of bizarre physical and emotional injuries.

Three decades of an unusual friendship

The story centers on three decades of a highly unconventional friendship. Its nonlinear structure shifts across different time periods, with both characters ranging in age from eight to 38. Nearly every scene depicts Doug and Kayleen discussing an accident, illness, or incident that has caused yet another wound. Supertitles projected onstage introduce each vignette with grisly labels such as “1. Eight: Face Split Open,” “2. Twenty-three: Eye Blown Out by Firework,” and “5. Eighteen: Pink Eye.”

Doug & Kayleen

Doug is a tall, socially awkward milquetoast who frequently gets into accidents and often harms himself, resulting in a parade of external injuries.

Kayleen, meanwhile, is a petite, nervous young woman who bottles up her emotions, and her anguish often overwhelms her physically. She suffers from assorted stomach and digestive ailments and cuts herself with razor blades to externalize the emotional turmoil she cannot express.

They first meet in an elementary school nurse’s office. Over the 90-minute one-act, their encounters take place everywhere from hospital rooms to a mental institution to a funeral home. Throughout the decades, Doug harbors a massive crush on Kayleen and is infatuated with her. Unfortunately, she insists she feels nothing for him. Despite her indifference, Doug remains unable to abandon his unrequited love, and the pair sustains a symbiotic, co-dependent friendship for years.

Dysfunctional bond

Gruesome Playground Injuries explores how some people use physical pain and self-harm to cope with trauma and psychological chaos. Through their many wounds and tragedies, Doug and Kayleen form a dysfunctional bond steeped in codependency and angst.

The tone is psychologically complex and disturbing, reminiscent of Tennessee Williams’s darker works such as Outcry, Something Cloudy, Something Clear, and Camino Real.

Sparse set, eerie lighting & clever makeup design

The sparse set by scenic designer Arnulfo Maldonado consists of a single, versatile room. Eerie lighting by Japhy Weideman, sound design by David Van Tieghem, and clever makeup work by Brian Strumwasser evoke a constant sense of desperation and vividly convey the characters’ many injuries.

Superlative performances

Veteran director Neil Pepe elicits outstanding performances from both Mr. Braun and Ms. Young. As these “scar-crossed” would-be lovers, they possess rare, magnetic chemistry.

Kara Young is consistently a high-strung spitfire and, despite her petite frame, commands the stage with imposing presence. She brings jittery allure and striking fragility to the role.

Nicholas Braun proved his range playing Greg on “Succession,” portraying a socially awkward outsider among ruthless billionaires. As Doug, Mr. Braun brings quiet humility, dignity, and nonstop tension to the character. Braun’s nuanced portrayal makes Doug deeply sympathetic, and we root for him to overcome life’s many obstacles.

Ambiguous ending

Gruesome Playground Injuries concludes with an ambiguous and somewhat unsatisfying ending, leaving us wondering what will become of these two lost souls. Given its serious themes, it is hardly light holiday fare. However, fans of Nicholas Braun or Kara Young will not be disappointed by the emotional fireworks these two extraordinary performers ignite onstage.

Published November 23, 2025
Reviewed at press preview on November 18, 2025

‘GRUESOME PLAYGROUND INJURIES’: Nicholas Braun & Kara Young. Photo: Emilio Madrid.

‘GRUESOME PLAYGROUND INJURIES’: (left) Nicholas Braun & (right) Kara Young & Nicholas Braun. Photos: Emilio Madrid.

‘GRUESOME PLAYGROUND INJURIES’: (top) Kara Young & (bottom) Nicholas Braun & Kara Young. Photos: Emilio Madrid.

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‘RICHARD II’: (left to right) Emily Swallow, David Mattar Merten, Grantham Coleman, Michael Urie & Lux Pascal. Photo: Carol Rosegg.

RICHARD II
By William Shakespeare
Directed & adapted by Craig Baldwin
Through December 21, 2025
Red Bull Theater
at Astor Place Theatre
434 Lafayette St.
https://www.redbulltheater.com

By Scott Harrah

Shakespeare’s classics are often revived in some newfangled form on the American stage. For instance, from the late Glenda Jackson playing the titular role in a misguided, gender-bending King Lear in 2019 to an equally ill-conceived one-man Macbeth starring Alan Cumming on Broadway in 2013, the Bard’s works are frequently updated to attract new audiences. However, director Craig Baldwin’s Off-Broadway iteration of Richard II introduces two refreshing twists: the setting shifts from the 1300s to 1980s Britain, and King Richard becomes a flamboyant gay man, portrayed by the always-outstanding Michael Urie.

This reviewer is rarely a fan of “modernized” Shakespeare because classics work best when performed as written. Otherwise, the richness of Shakespeare’s language and narrative can get lost amid flashy gimmickry. Even so, two modernized adaptations have succeeded in the past 15 years: the 2010 Broadway revival of The Merchant of Venice, starring Al Pacino as Shylock, and now Mr. Baldwin’s Richard II. While Mr. Pacino brought dignity to Shylock, Mr. Urie brings his trademark comic timing and sharp wit to Shakespeare’s egotistical, self-destructive monarch.

Richard the Rebel

This is a stylish reimagining of Richard II, with an ‘80s-inspired set by Arnulfo Maldonado. Mr. Urie plays the doomed monarch whose inflated ego leads to his downfall. When Richard seizes the inheritance of his cousin, Henry Bolingbroke (Grantham Coleman), he ignites a chain of betrayal and rebellion that forces him to confront his own loss of power and identity.

1980s decadence & excess

Mr. Maldonado’s design reimagines the royal court as a sleek 1980s Manhattan boardroom, complete with sharp suits, minimalist décor, and an interviewer (Sarin Monae West) who channels Grace Jones. Meanwhile, snippets of Eurythmics’ “Sweet Dreams” and other new-wave hits reinforce the era’s excess and vanity. The result is a clever concept that turns Richard’s deposition into a corporate coup rather than a medieval revolt. Admittedly, some choices—like the bathhouse scene or Richard’s affair with Aumerle (David Mattar Merten)—veer toward camp, yet they fit this production’s aesthetic.

Cast standouts

Not everything works here, but there’s plenty of fine acting onstage. Ron Canada, in multiple roles (especially as John of Gaunt), delivers one of the evening’s strongest performances, with precise phrasing and a masterful command of Shakespeare’s dialogue.

Grantham Coleman, as Richard’s rival and cousin Henry Bolingbroke, brings understated determination that contrasts beautifully with Richard’s theatrical volatility.

Michael Urie has a blast portraying Richard as an entertaining narcissist. Yet beneath the humor, he reveals the character’s tragic vulnerability, proving how effortlessly he can balance comedy with gravitas. His performance is campy enough to amuse, but grounded enough to make the downfall sting.

Accessible & entertaining

Purists may not embrace this Richard II, yet Mr. Baldwin has created a visually dynamic, thematically relevant version that speaks to modern politics and power struggles. Ultimately, his production makes Shakespeare’s complex history play accessible, entertaining, and unexpectedly poignant—a triumph of bold direction and fearless performance.

Published November 10, 2025
Reviewed at press performance on November 8, 2025

‘RICHARD II’: (left to right) Ron Canada, Grantham Cole & Michael Urie. Photo: Carol Rosegg.

‘RICHARD II’: (left to right) Kathryn Meisle, Ron Canada, Michael Uriie & Lux Pascal. Photo: Carol Rosegg.

‘RICHARD II’: Sarin Monae West, James Seol & Daniel Stewart Sherman. Photo: Carol Rosegg.

‘RICHARD II’: Sarin Monae West, Lux Pascal, Michael Urie, David Mattar Merten, Ryan Spahn & James Seol. Photo: Carol Rosegg.

‘RICHARD II’: Michael Urie & David Mattar Merten. Photo: Carol Rosegg.

‘RICHARD II’: Michael Urie. Photo: Carol Rosegg.

‘RICHARD II’: Grantham Coleman & Michael Urie. Photo: Carol Rosegg.

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‘QUEENS’: (Left to right) Marin Ireland, Nadine Malouf, Nicole Villamil & Brooke Bloom. Photo: Valerie Terranova.

QUEENS
By Martyna Majok
Directed by Trip Cullman
Through December 7, 2025
Manhattan Theatre Club
NY City Center Stage I
131 West 55th Street
https://www.manhattantheatreclub.com/

By Scott Harrah

Martyna Majok’s Queens has returned Off-Broadway in a reworked, deeply moving production directed by Trip Cullman. Set in an illegal basement apartment in Queens, the play explores the intersecting lives of immigrant women from across the globe.  These women come from Poland, Ukraine, Afghanistan, and beyond. All the women are struggling to survive in America while reckoning with the past they left behind.

The story

Queens spans from 2001 to 2017 and follows a group of immigrant women from around the world who share the same cramped space while struggling to build new lives in America. When a young Ukrainian woman named Inna (Julia Lester) arrives searching for her estranged mother, she stirs up painful memories and forces the others—particularly Renia (Marin Ireland), the Polish landlord of sorts—to confront the choices and sacrifices they’ve made in pursuit of safety, dignity, and belonging. The women’s stories unfold through shifting timelines and layered interactions, creating a poignant mosaic of survival, identity, and the costs of the American Dream.

Martyna Majok’s unsentimental script examines what it means to build a new life in an unfamiliar place while leaving another one behind. Each character’s story adds texture to the collective immigrant experience, and as the play toggles between 2001 and 2017, the audience witnesses how time, loss, and reinvention shape each woman’s path.

Outstanding ensemble cast

Stage veteran Marin Ireland anchors the production with her remarkable portrayal of Renia, a Polish immigrant whose stoic strength masks deep emotional scars. Ms. Ireland’s mastery of dialects and nuance brings authenticity to every line. Equally compelling is Anna Chlumsky as Agata, whose realism and quiet heartbreak elevate the play’s emotional core. Nadine Malouf gives a particularly poignant performance as Aamani, an Afghan woman whose memories of surviving Taliban oppression and her identity as a woman and a lesbian lend the show moments of haunting despair.

Trip Cullman directs with his usual sensitivity and precision, keeping the pacing tight despite the script’s complex, time-jumping structure. The dialogue occasionally becomes dense and obtuse, especially in scenes where the women speak in thick accents or other languages, making it hard to follow at times. Still, Ms. Majok’s reworked script (originally staged in 2018) is much improved — clearer, more cohesive, and thematically resonant in today’s political climate.

Relevant in modern-day America

For a drama steeped in heavy themes, Queens never drags. Its honesty about immigration, sacrifice, and female resilience feels especially urgent and topical in 2025 America. The result is an affecting, beautifully acted piece of theater that stays with you long after the lights go down.

Published November 6, 2025
Reviewed at press performance on October 30, 2025

‘QUEENS’: Marin Ireland & Anna Chlumsky. Photo: Valerie Terranova.

‘QUEENS’: (Clockwise from top left): The cast; Brooke Bloom & Nadine Malouf; Anna Chulmsky; Julia Lester & Marin Ireland. Photos: Valerie Terranova.

‘QUEENS’: Marin Ireland & Sharlene Cruz. Photo: Valerie Terranova.

‘QUEENS’: (top) Julia Lester; (bottom) Andrea Syglowski. Photos: Valerie Terranova.

‘QUEENS’: Nicole Villamil & Marin Ireland. Photo: Valerie Terranova.

‘QUEENS’: Nadine Malouf, Nicole Villamil, Marin Ireland & Brooke Bloom. Photo: Valerie Terranova.

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‘ROMY & MICHELE’: Laura Bell Bundy & Kara Lindsay. Photo: Valerie Terranova.

ROMY & MICHELE: THE MUSICAL
Book by Robin Schiff
Music & lyrics by Gwendolyn Sanford & Brandon Jay
Based on the motion picture Romy & Michele’s High School Reunion
& the stage play, Ladies Room, by Robin Schiff
Directed by Kristin Hanggi
Through November 30, 2025
Stage 42
422 West 42^nd Street
https://romyandmichelethemusical.com/

By Scott Harrah

The 1997 cult classic Romy & Michelle’s High School Reunion forms the basis for Romy & Michele: The Musical. The film starred Mira Sorvino as Romy and Lisa Kudrow as Michele, two lovably ditzy, underachieving California girls who have been friends since their high school days in Arizona. Now, 28 years later, the film has been adapted into a splashy Off-Broadway musical.

Tricky business

Musical stage adaptations of hit movies are tricky business. Producers love them because musicals based on popular films have a built-in audience. However, the finished product does not always live up to everyone’s expectations.

Romy & Michele sticks to the film’s plot and even includes much of the same dialogue. Romy & Michele’s High School Reunion was a short 90-minute movie, but here it’s been stretched and padded out to a two and a half-hour musical (with intermission).

The story

For those who haven’t seen the movie, here’s a synopsis.  Romy White (Laura Bell Bundy) and Michele Weinberger (Kara Lindsay) are both friends and roommates in Los Angeles. They get invited to their 10-year high-school reunion in Arizona. Romy works as a cashier at a Jaguar dealership and Michele is unemployed. They are apprehensive going back to high school, a place where they felt they didn’t fit in. To boost their confidence, they concoct an absurd fib about how they “invented” Post-It Notes. The film told the story by juxtaposing flashbacks from high school with scenes from their present-day life in L.A. seamlessly. For the musical, the narrative has been changed slightly. Act one is mostly flashbacks to their high-school days and act two includes a road trip to the reunion.

Some songs sound like padding

The musical features a first act that is a flashback to their high school years, with the second act mostly about their trip to the reunion and what happens at the big event.

The score by Gwendolyn Sanford and Brandon Jay is energetic but mostly forgettable. At times, songs like “Everybody Wants Somebody” and “I Feel Fulfilled” seem like padding that bog down the narrative and fail to propel the story forward.

The second act opens with “Businesswomen’s Special,” a pointless number that fails to enhance one of the film’s funniest moments. In the movie, Romy and Michele enter a roadside diner on the way to the reunion. An older waitress takes their order.  Both in the film and the musical, Romy and Michele are dressed in sexy, black business attire. Romy asks the waitress if they have a “businesswomen’s special” because, as Michele adds, “we’re businesswomen from L.A.” The scene is hilarious in the film because the older “hash-slinging”  waitress gives a confused look to the twentysomething ladies and quips “we don’t have anything like that” and soon asks “what kind of business you in?” It’s a truly iconic moment in the film.

The joke and the punch line bomb, however, in the musical because the waitress is played by a young woman (Ninanko Donville) about the same age as Romy and Michele and just as attractive and fresh-faced as them. The song’s lyrics are not nearly as funny as the scene in the movie, so the whole production number falls flat.

Heather’s show-stopping song

Ironically, it’s neither the two heroines that have the musical’s best song. Heather (Jordan Kai Burnett) is the sarcastic, cynical woman (played by Janeane Garofolo in the film) who chain-smokes and invents Lady Fair cigarettes. “Twice the taste in half the time for the gal on the go,” she says. “I invented the quick-burning paper.” Heather’s angst-ridden ballad “Love Is” at the end of act one is the highlight of the show.

Ms. Burnett as Heather sings in a marvelously husky voice, “You can count on a cigarette/Its taste consistently divine/Like a pale thin flammable lover/Seductive/So refined/When I smoke, I’m a femme fatale/I’m French/I’m Lauren Bacall.” It’s so wonderfully over the top and campy, with red lighting, like a parody of a song from Chicago.

The reunion

The musical reaches its climax when Romy and Michele arrive at their reunion at Sagebrush High in Tucson, Arizona. Michele runs into the popular, air-headed mean girls who used to tease her in school, especially Christie (Lauren Zakrin). Michele tells the fabricated story about inventing Post-It Notes in the song “I Invented Post-Its.” Soon, Heather exposes the lie and Romy and Michele have a fight. They soon reconcile and go tell off Christie and her clique.

Will the musical please diehard Romy & Michelle fans?

Diehard fans of the film and those who simply want to see an escapist musical will enjoy this adaptation. The first act drags with too many throwaway songs but the musical fortunately redeems itself in the second act, and the songs do get better indeed. Ms. Zakrin as the villain Christie has a fine voice and is delightful when singing “I Feel Fulfilled” and “Christie’s Big Speech.”

Stage veteran Laura Bell Bundy is consistently funny and spot on as Romy, doing a great imitation of Mira Sorvino’s nasally voice in the film. As Michele, Kara Lindsay has good chemistry with her co-star and is charmingly vacuous. One cannot help rooting for them.

Director Kristin Hanggi does a good job of keeping everything true to the beloved movie. She helps extracts noteworthy performances from many cast members, including Ms. Burnett as Heather, Ms. Zakrin as Christie, Pascal Pastrana as Christie’s husband Billy, and Je’ Shaun Jackson as Toby, the school yearbook editor who finally comes out of the closet.

Did we really need a musical version of Romy and Michele’s High School Reunion? Probably not. Is it a perfect show? No, but it has enough laughs, colorful characters and gleeful 1990s nostalgia to please fans and warm up these dreary late-fall nights.

Published November 4, 2025
Reviewed at press performance on November 1, 2025

‘ROMY & MICHELE’: Laura Bell Bundy, Ninanko Donville & Kara Lindsay. Photo: Valerie Terranova.

‘ROMY & MICHELE’: Jordan Kai Burnett & cast. Photo: Valerie Terranova.

‘ROMY & MICHELE’: (Clockwise from top left): Kara Lindsay; Je’ Shaun Jackson; Michael Thomas Grant; Je’ Shaun Jackson & cast. Photos: Valerie Terranova.

‘ROMY & MICHELE’: Laura Bell Bundy & Kara Lindsay. Photo: Valerie Terranova.

‘ROMY & MICHELE’: Michael Thomas Grant & Jordan Kai Burnett (top row); Laura Bell Bundy & Kara Lindsay (center, bottom row). Photo: Valerie Terranova.

The post ‘Romy & Michelle’: Film fave now a musical appeared first on StageZine.

‘LIBERATION’: Audrey Corsa, Kristolyn Lloyd, Irene Sofia Lucio & Adina Verson. Photo: Little Fang.

LIBERATION
By Bess Wohl
Directed by Whitney White
Through February 1, 2026
James Earl Jones Theatre
138 West 48^th Street
https://liberationbway.com/

By Scott Harrah

Stories about feminism and the women’s movement more than 50 years ago might seem anachronistic to some. However, Bess Wohl’s Liberation, set in Ohio in 1970, is quite relevant and topical today. It’s disturbing to think that the same rights and freedoms feminists fought for back then are all issues women still face in 2025 America. Women must still fight for the right to choose and equal pay. They battle sexism and grapple with double standards in a male-dominated society. This production (which premiered off-Broadway this past winter at Roundabout’s Laura Pels Theatre) features one of the best ensemble casts on the New York stage in years.

‘Consciousness raising’ in an Ohio town

Lizzie (Susannah Flood) is a journalist in a small Ohio town and decides to start a “consciousness-raising” group. They meet weekly in a rec center’s basketball court to talk about women’s issues and ongoing struggles with men. She acts as narrator for the tale.

The story of young Lizzie is interspersed with that of her daughter in the 2020s. Ms. Flood also portrays Lizzie’s daughter in the present day, interviewing original group members years after her mother’s death. Her daughter wants to discover why her mother went from being a feminist activist to a more traditional woman later in life. Lizzie’s daughter wants to find out what happened to the group’s idealism over the years.

…And ladies of the club

One of the unique aspects of Liberation is the way it shows a microcosm of women from diverse backgrounds, races and socioeconomic levels, all facing similar oppression simply because of their gender. The only other women’s group that meets at the venue is a knitting circle.

Members of the sisterhood

The sisterhood of Lizzie’s group includes Margie (Betsy Aidem), the oldest member who has been married for decades to the same man. Joanne (Kayla Davion) is the group’s first Black member. She’s an author and feels slightly out of place because, as an African American, her level of oppression is far worse as a female woman of color.

Dora (Audrey Corsa) stumbles into the group unexpectedly, thinking it was a knitting club, but she’s frustrated as a beautiful woman working for a wine company, forced to grapple with sexism and objectification by the men at her job.

In addition, Isidora (Irene Sofia Lucio) is from Italy and the only immigrant. She has a unique perspective on women’s issues that differs from the American women. Susan (Adina Verson) is a radical feminist, while Celeste (Kristolyn Lloyd) is a Black woman who joins the group later in the story. Bill (Charlie Thurston) plays a key role in young Lizzie’s past.

A memory play from a woman’s perspective

Lizzie tells the audience at the beginning of the show that Liberation is a memory play. The show’s full title is Liberation: A Memory Play About Things I Don’t Remember. Memory plays often feature a main character recalling past events. Prime examples include The Glass Menagerie by Tennessee Williams and Betrayal by Harold Pinter.  Lizzie uses this method as present-day narrator to examine her mother’s past.

Women’s struggles remain consistent over decades

Playwright Bess Wohl captures the essence of intergenerational conflicts and the thorny issues related to activism. Ms. Wohl also shows how feminism and the ongoing fight for women’s equality are both different for every woman based on her circumstances and identity. However, the need for women to be heard, taken seriously by men, be paid a fair wage and also appreciated is something that has not changed much since the dawn of the women’s movement. Women today still are expected to have and raise children, work, manage a household and also live up to overwhelming expectations created by men and society in general.

Razor-sharp direction of an excellent ensemble

Director Whitney White does an outstanding job of directing this excellent ensemble. There are so many fine performances here that it’s difficult to single out any as standouts because each actress is so great in her own right. Susannah Flood does a remarkable job as narrator, young Lizzie and her daughter. Betsy Aidem is sensational as Margie, the eldest group member who has struggled living the only life she knows as wife to man who can do little for himself. Audrey Corsa is often poignant as the beautiful, naïve yet powerful career woman Dora. Kayla Davion as the intellectual Joanne is always entertaining with her nonstop wit, and Kristolyn Lloyd as Celeste, Irene Sofia Lucio as Isidora and Adina Verson as the militant feminist Susan are equally superb.

Liberation is a brutally realistic, consistently funny “herstory” lesson that speaks volumes about the inequitable state of women in past and present America. The play shows why there should not be anything “radical” about treating women as equal to men and giving women the respect they deserve. Without question, Liberation is one of the best dramas of the year.

Published November 1, 2025
Reviewed at press performance on October 29, 2025

‘LIBERATION’: Kristolyn Lloyd, Irene Sofia Lucio, Betsy Aidem & Audrey Corsa. Photo: White Fang.

‘LIBERATION’: Susannah Flood & Betsy Aidem. Photo: Little Fang.

‘LIBERATION’: The cast. Photo: White Fang.

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‘NOT READY FOR PRIME TIME’: Ian Bouillion & cast. Photo: Russ Rowland.

NOT READY FOR PRIME TIME
By Erik J. Rodriguez & Charles A. Sothers
Directed by Conor Bagley
Through November 30, 2025
Newman Mills Theater at The Robert W. Wilson MCC Theater Space
511 West 52^nd Street
https://notreadyforprimetimeplay.com/

By Scott Harrah

Fifty years after NBC’s “Saturday Night Live” first premiered and became a cultural phenomenon, an unauthorized stage bio-drama has arrived off-Broadway on the New York stage.  Not Ready for Prime Time is by no means a definitive or 100% historically accurate chronicle of the early days of the late-night comedy, but there’s enough nostalgia here to please most “SNL” fans.

“Live from New York…it’s Saturday Night!”

The bio-drama chronicles the journey and struggles of series creator Lorne Michaels (Ian Bouillion). He cast a group of up-and-coming comedians and turned “Saturday Night Live” into a mega-hit back in 1975.

The story is structured similar to an “SNL “ episode, complete with a live band. Mr. Buillion, as Lorne Michaels, narrates the tale. All the elements of the original show are here (if you’ve followed the early days of “SNL”). Not Ready for Prime Time recounts the numerous egotistical battles of the actors and writers, all vying for more air time and high ratings. The most poignant backstories include that of Garrett Morris (Jared Grimes), the “token” African American on the show at the time. Depictions of the struggles of the female cast members are also quite powerful.

Copyright restrictions limiting

Unfortunately, the writers and producers of Not Ready for Prime Time were unable to license all of the copyrighted material from the early glory days of “SNL.” As a result, the show sometimes suffers. Anyone old enough to remember the show in the 1970s and early 1980s might be disappointed. For example, in the “Weekend Update” segment, we, alas, never get to see Dan Aykroyd (Kristian Lugo) say “Jane, you ignorant slut!” to Jane Curtin (Caitlin Houlahan).  We also never get to see such classic sketches as the Coneheads (although there’s a scene that pays clever homage, albeit indirectly).

Radner’s Roseanne

Despite the copyright restrictions, Gen X and Boomer fans of “SNL” need not worry. Not Ready for Prime Time is still worth seeing. It has some of the vintage gems like Gilda Radner (Evan Rubin) performing her wacky Roseanne Roseannadanna character. The character was based on a local New York TV news anchor. Radner’s Roseanne often took a serious topic and turned it into a bizarre, personal rant that was outrageous and often grotesque. For example, one segment on quitting smoking turned into a ridiculous story about a man coughing up a chicken bone.

Highlights & shortcomings

All the elements of the “SNL” story are here, from Chevy Chase (Woodrow Proctor) leaving the show after a year to pursue Hollywood films to Gilda’s battle with ovarian cancer and the “nerds” Todd and Lisa, played respectively by Dan and Gilda.  One of the highlights of the show is the live band. In addition, there is a great set by set designers Justin and Christopher Swader.

The script by Erik J. Rodriguez and Charles A. Sothers is problematic. Granted, Mr. Rodriguez and Mr. Sothers do a fine job of covering the huge amount of material. However, it’s hard to depict the saga of “Saturday Night Live” in just two acts of a stage play. For audience members old enough to remember the legendary TV show’s early days, the story works, but younger audiences may have trouble following the timeline. Those too young to remember John Belushi’s untimely death from a drug overdose (which was huge news at the time) or Gilda Radner losing her cancer battle might feel a bit lost.

Doing justice to iconic characters

Portraying such iconic characters as the original “SNL” ensemble is a tall order indeed. Thanks to good direction by Conor Bagley, no one makes an attempt to portray anyone as a caricature. Everyone in the cast makes a valiant effort to depict these famous comedians with veracity instead of impersonation gimmicks.

Woodrow Proctor does a nice job portraying Chevy Chase, Mr. Bouillion captures the essence of producer Lorne Michaels, Nate Janis is funny playing both Bill Murray and Dick Ebersole. Ryan Crout is often hilarious as John Belushi. Kristian Lugo is in good form as Dan Akroyd, while Caitlin Houlahan as Jane Curtin and Taylor Richardson as Laraine Newman both shine.

The true standout performances are given by Evan Rubin as Gilda Radner and Jared Grimes as Garrett Morris. Ms. Rubin is both uproarious and touching in all the right moments as the tragic Gilda. Mr. Grimes brings the right amount of anger and emotional depth to Garrett, the first person of color on the show.

Not ‘ready’ for everyone

Not Ready for Prime Time would be perfect for a TV miniseries on any streaming service. However, as a stage play, the story is awkward at times and the proceedings sometimes come across as vague and lugubrious. There’s just too much story to tell in such a short time period, but in a different format Prime Time might seem much more “ready” for audiences to enjoy.

Published October 20, 2025
Reviewed at press performance on October 18, 2025

‘NOT READY FOR PRIME TIME’: Taylor Richardson, Evan Rubin & Caitlin Houlahan. Photo: Russ Rowland.

‘NOT READY FOR PRIME TIME’: Jared Grimes & Caitlin Houlahan. Photo: Russ Rowley.

‘NOT READY FOR PRIME TIME’: Jared Grimes & Woodrow Proctor. Photo: Russ Rowley.

‘NOT READY FOR PRIME TIME’: The cast. Photo: Russ Rowley.

‘NOT READY FOR PRIME TIME’: Ryan Crout & Kristian Lugo. Photo: Russ Rowley.

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