In theatre, there is a complex setting that only a few artists and visionaries can achieve, mainly by restating classic outward thinking about the human experience, or in what is known as the apparition of knowledge that only one can imagine but can’t achieve. Whereas you’re sitting through the show and complexifying the entirety of the performance as not of one writer, but multiple thoughts of Penny Arcade, Jess Barbagallo, Ethan Fishbane, Richard Foreman, Hillary Gao, Nazareth Hassan, John Jesurun, Marvin Just, Dhari Noel, Normandy Sherwood, Hayley Stahl, and Fiona Templeton. You can almost imagine a room of geniuses gathering together and finding the solution to the world's biggest problems, as what is above us in the world, and what is different from what the mind can currently. 

Some of the parts of the different play that combine all the elements of theatre are profound and layered, with innovating and crafting something new and fresh. You are destined for a great show beforehand, but after that, some of the effects of amazing writing include the concept of the great imagination of the design. This includes the ideals of visuals through the sound designer Robin Margolis and light designers Daisy Long created this beautiful art of visuals for us that night, from the concept of turning it into a movie atmosphere. As a Gen Z, this is a phenomenal reason why theatre remains a top priority in the world. Creating faster-paced energy and environments such as The Kick Inside at Here Arts Center. Directed by Nicolás Noreña, there is a point of reason behind all the creativity of this play. Most of the play is a great reminder of how vast the mind of a brilliant director can see through and create a perspective of having a show that is so peculiar and complex that it questions the laws of physics and reality: “You know things I don’t know?” written by Dhari Noel. From page one to the end of the show, the breathtaking staging captures the whole essence of the production, and the emotions in the script are captured.

With multiple plays within others, this was a great rendition of amazing scripts that combine each one into one similar theme of despair and answers. To not fool the viewers, The Kick Inside isn’t just one play within one; it’s multiple plays that all somehow interleave with each other and create this dynamic for one complete piece of work, which allows itself to complete the workings of inner thoughts throughout all the writers and creators into one piece of theatre. A play such as this can’t be predicted; it’s ever-changing and can be interpreted in a different manner for each viewer watching. I recommend this for someone who loves to question their existence, and also their own thoughts to a moral standard of knowledge. 

Guilt, Jealousy, pain. Morals Breaking! But importantly, funny!

Simply put, I wasn’t mistaken when our lead actress, Elisha Mudly, rush of joy and smiles to play a 13-year-old is a reminder of pain from the past that most of us can experience now as adults. But a slight amount of guilt without doubt from all of us that comes from within. Allanah's Final Presentation, written and performed by Elisah Mudly, captures the audience through shared episodes, experiences, and elements of excellence. 

To kick off the Day of the Dead Festival at Under St. Marks Theatre, the play documents the life of a 13-year-old at the start of the teenage years, and all the experienced and experimental memories that are normally swept under the rug. But the script was the real treat of the show, and was quite entertaining and harmless fun too! With constant interactions within the audience, and shadows of the world of a 13-year-old girl. The introduction of family life brings out the most detailed work of this show, and is surely meant for someone to laugh at, but also learn from. 

I highly recommend this show for the moments of humor and self-dignity and confidence that Mudly brings out onto the stage that night! With anyone who sees this production, you are bound to fall in the sense of being presented with the entrance of Allanah through Mudly. 

In the final words, from all of us. We have all grown in the world, and we all remember that no matter what, we have experienced a universal message that was fully displayed on the stage, that life is awkward and jealousy arises from others. No matter the rendition of the themes, no matter the concept spoken in a script, and pronounced on the stage. We have all been where Allanah has been!

Gloriously Performed!

For a small, simple venue (Under St. Marks Theatre) comes a great performance piece of theatrical cabaret. There was an inspiring piece of costume that was detailed from the head to the shoes, which is subtly what makes this cabaret different from the others. The introduction of our creators, Becca Canziani, Brooke Ferris, and Rebecca Wolf, was a trailblazing trio that is sure to rock the eyes of the beholden. I wasn't expecting a better way to perform a piece of visual art during the Days of the Dead festival, but then came Hex Appeals. Ending in a standing ovation for the clever uniqueness of the performance, and the drastic impact of humor and simple comedic elements that made everyone, including myself, laugh from the beginning to the end. However, Hex Appeals taught everyone that being yourself and being authentic to the core makes you more beautiful inside and out. On the contrary, that message was sent far and clear throughout the performance, from fun times dancing to Lady Gaga to many of the different pieces of costume changes in the complexion of the show. Uniqueness is the new of the world of theatre, and Hex Appeal gave it a home. What's important towards the main storyline is that something else is a phenomenal contrast to the past, and bound to the acapella of the future. The festival is the time to start experiencing the joys of the brightest creatives in the fields such as Becca Canziani, Brooke Ferris, and Rebecca Wolf. First, the scariness of this cabaret should be watched by many. Including those who are wondering what a cabaret is, what a powerful performer is, and why people should be changed. This is that show, and you are their audience!

For a Halloween Musical, this was a phenomenal piece of work. I really enjoy the actor's performance in this Play slash musical. Although in a Spanish-language musical, everyone in the world can enjoy this amazing and catchy musical! The plot was fun and full of twists and turns, such as the Family Aunt (Played by Ariel Str) coming back and ruining the Halloween party, and the placebo effect for the pizza delivery man(Played by Mario Mazzotti)! Each and all of the songs were beautifully written, and my ears tingle for more. Pizza Party, directed by Jenny Prada, has a flair like a Broadway show and memorable dances and choreography. If you love big, fun Broadway Musicals such as The Book of Mormon or Hairspray, then you need to see Pizza Party. Each of the jokes, such as the Aunt’s natural sass haunting the young girl (played by Alessandra Rivera) or the fun dance-possession numbers. Or being sick to try and throw a party under the knowledge that they don’t know. Creating the overall fun and whimsical comedy of Pizza Party, and valuing the cleverness of the characters and their own personal dilemmas! 

The Actors are flawless with their craft and brought out an amazing performance; the choreography was stellar, and the dancing was on point! I was shocked to see this being done in such a short amount of time. However, sticking with the traditional theatre of America, there were hints of Spanish traditions as well, such as an influence of miming, and an amount of Tango that is sure to get you moving in your seats! I was having a blast during the performance, and I loved the different cultures and traditions of theatre being combined to create this masterpiece. 

Although the show was only around 60 minutes long and in a whole different language, you can deeply understand the theme of love for others being around and respecting those who aren’t in the given time. Anyone should see this production and value the horror and the comedy of the Halloween season. 

We are always reminded that seeing a different show in a different language isn't a bad idea, and we should be embracing seeing different art through different artists. I would recommend this as a good place to start watching those multilingual shows. 

Spanish Version: 

Para ser un musical de Halloween, fue una obra fenomenal. Disfruté mucho la actuación del actor en esta obra/musical. Aunque es un musical en español, ¡todo el mundo puede disfrutar de este increíble y pegadizo musical! La trama fue divertida y llena de giros y vueltas, como la tía de la familia (interpretada por Ariel Str) que regresa y arruina la fiesta de Halloween, ¡y el efecto placebo para el repartidor de pizza (interpretado por Mario Mazzotti)! Todas y cada una de las canciones estaban bellamente escritas, y mis oídos ansiaban más. Pizza Party, dirigida por Jenny Prada, tiene el estilo de un espectáculo de Broadway y bailes y coreografías memorables. Si te encantan los grandes y divertidos musicales de Broadway como The Book of Mormon o Hairspray, entonces tienes que ver Pizza Party. Cada uno de los chistes, como la natural desfachatez de la tía que persigue a la joven (interpretada por Alessandra Rivera) o los divertidos números de baile de posesión. O estar enfermos para intentar organizar una fiesta sabiendo que no lo saben. ¡Crear la comedia divertida y extravagante de Pizza Party, y valorar la inteligencia de los personajes y sus dilemas personales!

Los actores son impecables en su oficio y ofrecieron una actuación asombrosa; la coreografía fue estelar y el baile, perfecto. Me sorprendió ver que lo lograran en tan poco tiempo. Sin embargo, manteniendo la tradición del teatro estadounidense, también se apreciaron toques de tradiciones españolas, como la influencia de la pantomima y una dosis de tango que sin duda te hará moverte al ritmo de la música. Disfruté muchísimo la función y me encantó la fusión de diferentes culturas y tradiciones teatrales para crear esta obra maestra.

Aunque el espectáculo duró apenas 60 minutos y se presentó en un idioma completamente distinto, se puede comprender profundamente el tema del amor hacia los demás y el respeto hacia quienes no están presentes en ese momento. Cualquiera debería ver esta producción y apreciar el terror y la comedia propios de la temporada de Halloween.

Siempre se nos recuerda que ver un programa diferente en otro idioma no es mala idea, y deberíamos estar abiertos a descubrir arte diverso a través de diferentes artistas. Recomiendo este programa como un buen punto de partida para ver programas multilingües.

A Brave Musical, full of soul and tributes, heartfelt, and bittersweet. Tributing the loss of loved ones comes a musical Memoir that is sure to make you cry, and then beg for more. Artist Margot Rose brings her wisdom and stories to a younger generation through spoken dialogue and represents characters with her own perspectives. Director and Dramaturge Anne Kenny created a world for this piece to thrive in and allowed us to explore the inner workings of Rose and the story of loss & grief. I wouldn't allow myself to write this guide for Gen Z to not remind them that not every show needs to be a happy coming of life, or a celebration, but death is upon us all, and we must be prepared for the feelings of loss, most of us already have. But that's a feeling that will never go away and never back down from us.  This show perfectly captures that feeling and gives us a voice that has been through it, and also a great band to emotionally guide us throughout the performance. I wasn't hesitant about this world of grief and was ready to deeply listen to the amazing story that was spoken by Rose. Another character that became the example of this show working through a younger person is the clever mirror between the reality of those who are in the midst of the deepest struggles. Those who are currently fighting through the grief and loss of a loved one. Played by Melina Young, we are given a real performance that was buried from within. Nevertheless, the real performance comes from the band playing, providing the great depth of the story, and providing the calmest realities needed for a heavy show such as this, creating a relaxing experience for the audience. 

Lighting and the amazing projections of Unconditional were designed by Alison Brummer, who also designed the set, creating this world of Marm's living room, where most of the story takes place. Providing us with a place of freedom to express our feelings, but feel at home within the theatre setting. Frankly, it was a perfect choice for the material spoken aloud, and gave a great balance between the 2 worlds and surfaces of purpose of loss.

Trust No One. 

A quick show that was presented at Under St. Marks is surely a horror nightmare. Not being able to leave the house with a stranger, and his name is Cotton Eye Joe (Yes, they made jokes out of the name, don't worry), my eyes weren't on the jokes, however. This is a powerful test of the subtitles, what is the trust behind someone, and how far can knowledge go. No matter what, the ability to rely on a stranger to tell the truth throughout the end-of-the-world situations is one that can break a family apart, and the will of allowing someone else to go into their own fright of betrayal, without the moral objection of having to raise a kid in the midst of life's greatest challenges, is normally dusted off as a mystery. The Outsiders are one dared trilogy of characters' journey, fresh from the world of parenting, you can watch the birth of a lesson from a baby. To the parenting of adults in the lesson of stranger danger, which brought on the comedy element of psychology, and the shadows of the world that is left for death in the apocalypse. Difficult decisions are to make sure that both worlds lead to a performance that conveys the powerful message of love and self-dignity, and confidence that this team is experienced and experimental with their emotions. We have experienced similarities without doubt of a world destruction in the 3rd space, but rather an idea that you choose to be told. This the morals of works such as this, bringing out our own innermost fears. Our own mental demise, what do we actually know about each other, and how dare far will we go to one's own external limits of help.

Guilt is experienced as a drastically different state where basic human composition is volatile. If some horror movie were to replicate what philosophy was presented, it wouldn't directly impact as much as this show impacted the audience. With plenty of supremacy in humor, The Outsider is a real triple-edged example of modern theatre. 

If you have read The Raven, or are a fan of Edgar Allen Poe. You are in need of seeing this show; it’s not a matter of what, or what's the point. We all know what Edgar Allen Poe is; it's the overall feeling of being inside the brain and the atmospheric energy of Edgar Allen Poe. He's portrayed by Scott Robinson, who is clearly defined as a professional, he's graceful acting and smooth, poetic voice give life to Edgar Allen Poe. Acting as him, the ability to project a historical character that is beloved by many, including literature lovers and poem enthusiasts, you are believed that this is the gold standard of Edgar Allen Poe. 

Although describing his most famous work, "The Raven". Edgar Allan Poe's " The Last Call describes his life overall in the state that was lived. Marriages to 14-year-olds, Failure in the financial world that leads to bankruptcy, and losing jobs due to not having the ability to work on a Wednesday. To the marriage that tore him apart since the day of the wedding. Which was later joked upon his own belief of Death Due us Part. I was stunned by the performance, but more stunned by the factual basis that came from within this show, and all the historical details that Scott Robinson elaborated on. A line of "sin so wildly well" drastically describes the show as a whole. A sin that is presumed by humanity over a writer who doesn't understand the difference between his own life and the values of this world upon itself. Which is a funny element, that a self-referential show that doesn’t portray itself, that not all artists or writers live the same life that others believe they live, that’s the reason why we should be watching and listening to shows such as this one. In the concept of the theatre, that's why we can deep dive into someone else's life, from all perspectives, and learn all about someone. We can begin to realize that our lives are the same way, and that Edgar Allan Poe dark history isn’t much different from that of others in the same writing ledgers. 

When witnessing a production that opens your eyes such as this, you are wanting more, and beginning to wonder, why is that show at Under St. Marks a special case compared to the rest of the theatrical shows that portray Edgar Allan Poe? Does an actor's magnetic energy in performance make the cake special, or is it the brilliant writing and staging? 

Not Your Average Cup Of Tea! A Whole Kettle! 

Clever, but needed in the society that we are living in as I am writing; super fun and yet great for Halloween! Creepy in the fact that there is a granddaughter out to kill, and a grandma that has no idea about the secret. With family drama comes fun, and there is a ton of fun in this production. An imagination between reality and what isn't reality, but as a piece of questioning how family dynamics are nowadays! A show for the horror fans! 

If you want a great show, part of the noise will do that for you! Fine talent with amazing singing qualities. Background with bar noise; there is a difference between those who want some form of drama. There is a compilation of lovers and seers. Moments of artists coming into play, their stories revolving throughout. Moments of clarity of philosophy mother of all, there is a hidden gate of art thaty only can be expressed Otherwise of the playwright most of the conflict isn't presented in the methods that are profound but rather kept secret or a part of the noise hidden Which enlists the mysterious black hones of this play most of the eyes and the ears of the director Really shape this work into a powerful Town bar drama director Joe Batista Vision takes his play into a whole new level of appreciation a force that makes the playwright's words into a masterpiece of art I never once believed that a story of a small bar The 50s could carry such brilliant drama suffering and Bittersweet many of the flows are within the characters which remind me about life in general without much complex thoughts you wouldn't be able to create a play without focus of what is wrong what are some of the flaws what are some of the issues part of the noise addresses this brilliantly taking it from a classical mystery into a complex desire of love a hope of all that can come forward from it everyone In everything universally understands this truth a part of the noise thoughtfully takes a simple concept and marks its theme into a generous production Years of wisdom that teaches us from this a joyful celebration that will come from his work in the East Village There is a certain limit that brings out the good in all of us but the worst in us I saw shows I can do all in similar which can theoretically combine the stories of these who believe in us and those who shape us a part of the noise simply shakes us into that simply gives us hope and the theory which shapes us into the moment that our actually are theoretically combines us that makes us a human at the end of the story. 

What’s wrong with massive praise, but the wrong person? Exploring the infamous killer of the night and the backstory of a mass killer in the making. A production that has seen the side of the story that makes the audience skeptical about what is really seen with their own eyes. Falls For Jodie, directed by Terrance I. Mosley and written by Eric Micha Holmes, is a dramatically written thriller perfect for the Halloween season. I was stunned, on the edge of my seat, with the expression of “no, please don't have facial expressions all over my face (please don't mean; I had a genuine hate for the antagonist). Demystifying the case of John Hinckley Jr. (played by  Boone Somers). And bringing the story to life on a theatrical stage is why people need to see this show during the season of horror. 

Starting from a new, fresh face in town straight from Texas, John Hinckley Jr. comes in as the boy-next-door type, nothing out of the ordinary or out of character. He goes on to find a romantic interest and finds out that she ain't all that she is. Meanwhile, he establishes himself as a partner for a newspaper. Which ultimately leads to drama and relationships that begin to fade from happy to emotionally distant. But that’s what is obvious about the show; what's not discussed is the revelation of Falls For Jodie and how important this show is. During the resurrection of hope, there is a glimmer of horror that a mentally disturbed character can have embedded. Eddie (played by Harry Thornton), a businessman from New Haven, is tied to having a great out-front character and amazing direction from the director Mosely, which gives us the presentation of falsehood. Subtle racism and sexism (warning) are hinted throughout the show, which left us with a massive hole from the moment, but created the 70s atmosphere in the production. Mentally, I wasn’t prepared to witness the ending of the show and how tragic the show was, and with the conclusion of a realization, I knew the show was a tearful one. 

Lighting and sound incorporated the show’s plot and made it a jaw-dropping theatrical design. Sound Designer Padra Crisafulli places their broad 70s country music into the character of John Hinckley Jr., and then takes the world away from it, crossing the differences throughout the rest of the characters. Lighting designer Gavin Strawnato gave us one of the best post-fight realizations of theatre to date, and also a great ending with the projections of the future and now. These elements gave us all and swarmed us into the world. However, the costumes were on a different level of design and were the driving element that created the settings of the 1970s. Costume Designer Rodri Hernandez Martinez 'visions of the 70s were on point. The details of the fabric selected for the shoes they were wearing were on the historically accurate scale and created the world of the 70s. The difference between New Haven and Texas, where Boone and Harry come from, was documented and visible through the designer. 

In my final words, I wouldn’t miss this show, and this was a great thriller, and it has a great love story that becomes the tragedy of the downfall for John Hinckley Jr.. If you need a fun night out in the theatre, this would be on my list for the Halloween Season, and also the thriller season! 

Set around a campfire in modern day comes this modern-day “romantical” play. However, twists are in the works.

For people wanting to see a great sound + lighting design and a great set (sound designer Jennie Gorn, lighting designer Eline Wong, set designer Connor Gallerani) to immerse themselves in, I highly recommend this show to begin that journey for that taste, but then watch for the great drama that will unfold before you. Starting with a simple man (Xavier) who, on a camping trip to the middle of the mountain, is one of those campers who’s been camping for the peace of being left alone with his thoughts, but then runs into 2 other campers on the trail (Yvonne and Zed). All 3 of them have to set up camp now because it’s getting closer to nightfall. Which leads directly into the themes of unknowingness and lack of trust. Throughout the play, we see bonds and community values arise from strangers sharing a campsite. The conflict, however, doesn’t begin until later in Act 2, when a secret love arises, but don’t get me wrong! This play isn’t boring in any capacity; it’s a very deep, detailed work of art. The internals of this play don’t play out like a normal formula; Lean-To isn’t an ordinary play. A highly complex, fascinating comedy of quirks. But also educational in the manner of "don’t trust what you don’t see," which Jesse Jou (Director) adapted from the script written by Stephen Sheffer. Although the plot isn’t as thick in the drama as it is in the lessons spoken, the conflicts arise throughout the play through the characters. Such as conflicts in sexuality, change, and love. Most of the time, those arise when one of the campers sees something they don’t understand or are jealous of. (I don't want to spoil the plot, so I’m not gonna explain each one in detail, but I’ll give you an overview of why you must see this show to reward yourself.) Xavier is a lonely gay man, and he encounters Zed, who’s in a relationship with Yvonne, but Zed has a secret up his sleeve, which, at the end of the play, causes Yvonne to reveal a hidden flaw about herself that ends her frustrations with depression and self-harm. Zed goes on to explore the world, and Xavier goes back to his own life as if nothing happened. Those moments in the theatre that allow us to explore the characters and understand more about them within each line are rare; that’s what makes this show great in its own manner. I thoroughly began to understand why the playwright has this set in the middle of nowhere.

A long exploration of ourselves can also reveal something in us: that no matter what, we aren’t all who we seem to be, which is why I recommend this show to audiences who are still finding their way around in this world. But who know good theatre, a good plot, and an amazing cast who can pull off a show like this! Without hesitation, I would see this show twice to understand more in-depth and take in more of the script that is just relaxing to hear. Highly recommended for anyone who also just enjoys life and what comes with it, but also big twists in the theatre. But who also doesn’t like a Britney Spears sing-off on the stage? Which you will also find in this play!

Becky Shaw. A dilemma of the boring relationships turned spicy! Turbulence of broader family, trust, and mental illness. 

From the depths of the tragically mental distrubed Becky Shaw, who falls entangled in the relationships and family of the Slater family and their family friend Max Garrett. While disturbing and eventful, I highly recommend this show to those who value the complexities of human relationships and the complex disturbances of past traumas and PTSD. Madeline Brewer (Becky Shaw) gave a performance that is sure to knock the socks off some people. While the storyline wouldn’t be the sell of the show, as some parts ran too long during the 1st Act. The choreography in Act 2 made the show a delight for the audience, and also anyone who is coming to see some Broadway technical talent as well. I wouldn’t doubt this show for being nominated later down the line for a Tony for best directing; however, one can argue this show will place some other plays as a run for their money. I wasn’t shocked, however, at the plot at the end of the show; it felt forced upon, and predictable how the show would end. The twists and turns were all at the beginning, so anyone who likes a show that ends abruptly, this isn’t the show for you. However, if you like a show that brings out something inside of you, and leaves you to think about the severity of a family dynamic upon someone who is struggling with themselves in the PTSD mental illness realm. I wouldn’t skip out on this. 

Directed by Trip Cullman, his sense of the art of theatre, and what it means to put on a stellar piece of work, was definitely a moment of clarity, and made for a great experience of life on a stage, in the most realistic. Becky Shaw is a theatrical piece, or a moment of reflection upon ourselves. Was this show a mirror for those who look at life as a simple, easy walk in the park, or hide from ourselves, and realistically, keep thinking forward in the mirror. The mirror in this case is the stage, and Cullman created a reflection for us to all follow and guide ourselves through. If you are in fear of this, this wasn’t a wall, more of a 3rd eye opening experience. Cullman and the rest of the designers, including Scenic Design: David Zinn, Costume Design: Kaye Voyce, Lighting Design: Stacey Derosier, Sound Design: M.L. Dogg, took the cake for theatre in this work, and created something that wouldn’t doubtfully get nominated in some approach into the Tony Season

Shakespeare as an art form. There's a certain person on this Earth I would think about turning Shakespeare into an avant-garde art piece of Gen Z humor and queer-based comedy. From the relationship between Paris and Sir Grant. And the reimagining of Romeo and Juliet. Hidden in plain sight is what comedy was, but also reformed was. A Man Called Paris, written and directed by Hannah Rae, was a reminder that all art can be retouched and revised into the modern concept and still serve the same purposes and teachings that the Old English World would have experienced. Adaptations such as this are a unique resolution of the decay of unnormalized. Those who shape theatre into a form

ation of new works, but new approaches to the stage, maximizing the direct awareness of storytelling, adapting to viewers who are most profound with today's comedy sense. Emerging as such a piece of authentic human behavior that is seen behind numerous closed doors can be a firm grasp of love, friendship, and feuds. In a world that is defined by its own biases, came into the world with a rude awakening. A sense of humor that most will find funny- scenes such as a Dog in the respectful hands of Juliet- was a prolific example of how this isn’t your classic Shakespeare, nor does it have to be, and that’s the point that director and playwright Rae wants to display across the stage. All of theatre can be imagined from a single blank sheet of paper, or from a classical work such as this, then developed into a non-sense approached, but it makes sense. Throughout the show, once the plot thickens with love between Paris and Sir Grants from the feuding sides of the family, you wouldn’t doubt that a production of this type of comedy would be boring; it was the funniest piece of art that was imagined.

Concepts that bring into a different style of an adaptation, but yet stills in the light of Shakespeare's education, and gives a view point of how shakespear might have been written in a point of confusion in the education field, or in a belief that we might’ve not understood from the past is a brief of justification of yeld of mistangingment of fortinfication for those who have read or analyised it in the past. Such as those beginning to clear up the comedy depth, and speak into existence a broader show of hope and laughter, but a deficiency of trial and error through one's own love affairs and relationships, and A Man Named Paris is the perfect show for seeing such, and I couldn’t have laughed harder in the audience. 

Chapter Meeting: a socialist comedy that is so profound in the sense of its own realism. Trapped in a blizzard, four completely different personalities are in the midst of a Democratic Socialists of America chapter meeting that is taking place in a very, very wealthy person's apartment. Directed and written by Taylor Gonzalez, the play features characterizations of real-life people who see through a bunch of things wrong with society—and each other. For those who do not understand now: seeing a show like this was one of the greatest pieces of democratic theater in the New York scene right now. Socialist shows in the New York theater scene currently are among the only shows that have an absolute realization of what characterization is in a production sense of comedy. Every character has their own unique quirks and dynamics that are sure to make you laugh. There is an influencer who doesn’t believe she’s a modern-day gold digger, Dee (played by Kiko Soiree), and a family-money trust fund NYU student, Esther (played by Kelly Whitney). There is also the laidback and “most normal,” society-based 20s guy, Andrew (played by Ihea Inyama), and our protesting counterpart, Mar (played by Michelle Chan-Bennett). All of them end up trapped in the apartment, leading to absolute chaos. After watching the show, I had a different sense of what a comedy should be, especially when the characters are all colliding with one another; however, the drama of this production also keeps your eyes and your brain focused. Let’s just say "Wow" regarding the unfolding plot of the chapter meeting. Because of the dynamics presented in this piece of theater, I was laughing the whole time, but also, with all the dramatic pieces, I was very focused and settled on seeing how this script would handle the reality of socialism. Director and writer Gonzalez, in a sense, brought everyone into a room; if you are in the audience, you are considered to be the fifth character in this story, which was a really great design and really good for people who are trying to see through the comedy. It was a rough, thought-out idea; however, it made sense later on because we watch a fallout between Andrew and the rest of the chapter when he reveals his plan to leave the group due to getting employment at Goldman Sachs. I wouldn’t say, however, that the blend of comedy and drama was perfected here, which brought out the genius in the direction and the script, providing direct moments of thrill with the gun used by Mar when she is sick and tired of everyone else’s comfort in society, or Dee’s epic revolutionary monologue about being a modern-day gold-digger influencer and opening up about the harsh realities of those individuals. Allowing sets of voices to be heard, the play reveals the truth of why this organization exists and the close bonds established within their own dynamics and friendship. You, as an audience member, will become the fifth member of the friend group, interlocking with what a kitchen-sink style play is in the 21st century. For an audience younger than 30, I highly recommend the show because of the satirical comedy and direct mentions of societal issues younger generations are facing, and also the constant banter of people in their 20s and 30s who see this day-to-day and want to laugh over something realistic that has a funny approach to it. I myself was laughing the entire time. Anyone else my age would know that this is hilarious and would want to see the show for its pure form of entertainment with an underlying message of community and resilience. As a quick snippet of this show: is it socialism? Seeing other people not being able to handle their own truth in the matter, but being prescribed a different reality that not everyone can withstand or abide by, it is deemed a parody of socialism. High in dramatic effects, including weapon use and thoughts of violence during troubling times, it is a persuasive new piece of theater, something that will go down in the theater books for comedy. It was wholeheartedly funny in every way, from the first scene to the last.

Wonder what happens when you turn a classical Shakespearean work into a modern-day rock band? Well, that’s the exact point of this show, fair and square. I didn’t think the works of this piece of art were the most expected thing: using modern-day musical ethics and the classical aspects of the plot of Shakespeare's Macbeth into an album, rather than the 5 acts, but now in a 7 song format, directly telling the emotional aspects of the results of the characters' journey throughout the Macbeth plot. I began to wonder why and who thought of something so creative, and so dramatic, but also so great for the Little Shakespeare Festival of indie work. With most of the songs that are sung well designed and written, and instrumentalized, there is an element of surprise in this show of just pure fun and pure entertainment. The concept of the show itself is pure camp, and should be in the same comparison as Hocus Pocus: a simple idea, yet clever and energetic. 

Some of the inner concept of this show can be seen in the acting of some of the musicians, Sam Siberini, Dian  Senting, and Michella Bassan, and last but NEVER the least! Emily Goldstein. Each of these performers is defying in the comedic sense, but also their logic behind some of their ear-warming songs written by them. Some of them are dramatic, some serious, and some entertaining. A total show that isn’t too long either, a perfect length of 40 minutes, which gives you time to enjoy Macbeth, and then enjoy the music. I wanted it to be a little bit longer to fit in more enjoyable songs, but there is always a 2nd album release! 

In the concept of art, derived from the ability to speak with the masses, this production was a spoken spirit of all said. I saw with the rush of the heart and the energy of the actors that Hamlet was a prime piece of theatrical experience; those who saw the show knew that they were pleased and rejoiced with the production's realistic and original approach to the ode of Shakespeare himself and the age of Shakespeare. Down to the original play itself, Hamlet, directed by Thomas R. Gordon, was a fantastic rendition that can be used today as an example of how to properly stage Hamlet, with no lack of moments and no issues with any of the authentic aspects of the Old English words.

When I first walked in, I knew I was in for a treat: pure theater. Most of the dramatic effects were felt in the method of pulling the eyes directly into the show itself, rather than you looking at the show itself; the ability to do such deserves higher praise than most other productions would. Hamlet is one of the shows that you must sit through and figure out the plot beforehand; however, with the acting that was placed before us, there were no issues with finding out the unfolding of the plot and actions. During the show, for those who have never seen a Shakespearean theatrical play or haven't seen an adaptation of such, this would be the best starting point.

But with all productions, I must adhere to the acting of this show. It was a great performance by the whole cast; it was amazing, it was wonderful, it was spectacular, it was a true night out for the ages. Even the Globe Theater would have some competition now due to this production. The set design was also amazing; it was realistic to the core. I felt like I was in a castle, which adhered to the standards of a classical Shakespeare work, and the costumes were fitting for the time. The standards of the costumes did adhere to Shakespearean work; I didn't think anything of this play was abstract or abnormal for a classical Shakespeare work. However, some of the elements of this play were standalone pieces rather than a full-frontal production, syndicating.

If I were to judge this play based on the book that Shakespeare wrote, it would stick with the wording of Shakespeare, line by line, which this one did adhere to. There were no issues with any of the dialect or any of the pronunciation; I felt like I was in Old England. Those little things that I've noted are the reason why this production captured the original intent of Shakespeare, all playing into the historical aspect of the play. However, the staging of this show was redone to adhere to the theater building itself, limiting the blocking. However, they did well with the redone version of classical Victorian blocking and tried to keep it contained; however, the limitations of this theater restricted the standards.

Overall, I would see this play again and again because of the classicalness brought to the New York theater scene. Final thoughts of this review: I find myself in thought of a grand realization of what a perfect Shakespeare non-adaptation of the modern era would be. I highly recommend this piece of theater that any fan of Shakespeare, theatergoer, or audience tourist must stop to see. It is a must-see show I wouldn't pass on anytime soon.

Reinvented, but never placed a note on the lack of consistency and understanding of the story, purely based on acting alone. As a group effort, I was astonished by what I saw. As a voice to the younger generation, what I see in Shakespeare is that he wrote for the heart, never the visuals. In that case, this is what I saw tonight when watching Julius Caesar, directed by Dylan Diehl. An interwoven piece of a timeless classic, drenched in the modern world of pure military intelligence, whereas the plot was more in the modern-warfare political climax, creating a realistic atmosphere of the worldly views of the current times ahead. I wouldn’t be shocked if this show becomes a documentary-style piece of theatre for the ages. With the interwoven strategic changes presented in the works of Diehl, am I shocked by how this was presented? Yes! The shocking twists of taking a piece of classic work, turning it into something that can be related to everyone no matter who is watching, is a brilliant piece of art. No moment without an eye-turning scene.

 Screaming, contemporary acting, but also emotionally complex Shakespearean art was on full display at the Flea Theatre, honing in on the original position of what Shakespeare would have imagined his piece would be like in 2026. I wouldn't be able to speak more without allowing the designers of a theatrical work to be recognized. Artist and lighting designer Annie Garrett-Larsen brought new life to a classical work, with a likeness to the show itself, moments of dramatic effect, and the shadows of the lights within. The dramatic translation of work that isn't spoken is a phenomenal summary of why this show is so great to produce in the 2026 season. Scenic designers Joshua Warner and associate Sydney Borislow created the atmosphere that would allow you to respond to the world, minimize the distractions, and focus on a constant consistency of narrow tunnel vision on the show. Revealing for the audience, however, a bloodbath of tragedy revealed that what's spoken shouldn't be said by the actors. However, the world around them created by the set designers told the story. Anyone who loves theatre would need to see this show; costume designer Micaela Hecht elevated the work of Shakespeare and brought a twist in modern-warfare fashion, with the Roman fashion flair, that is. Anyone with a fashion eye would find this to be an adaptable design for the journey, but it comes with the concept of how much more we needed to see it; I wanted to see more of the Roman attire in all its forms. Some elements of the blood in the costumes felt too “fast-fashion” in taste; however, this contributes to the era of the play in the historical timeline, as it’s being predicted in those aesthetics, bringing forth the timeframe directly on how this production takes a nod into the modern-day times, and brings less of a resentment towards the current society issues at the end. Fighting, and the main choreography of the production, was in an odd taste; however, it works in the factor that makes the audience grasp the method. Fight director Jacqueline Holloway ensured that the action kept me on the edge of my seat. I wouldn’t think a Shakespearean work would be as entertaining as this show made it; I was excited to see the audience in full clapping mode; it worked!

I can’t forget the most important part of writing a Shakespearean theatrical review without reminding the reader how great an acting job these fully engulfed actors did to make the production what it is. Each member of the well-trained Ensemble Shakespeare Company placed a message on the stage, and it reads, “make it look easy.” They did a fine job in the dialogue, with some moments of near-perfect dialect. Anyone who hasn’t seen Shakespeare, this is the first one you need to see. This great ensemble of actors (Mark Dacascos, Dylan Diehl, Pedro Garza, Truman Gaudoin, Rob Hatzenbeller, Susannah Hoffman, Dennis Kear, Gerrard Lobopau, Marchegiani, Diego Millan, Celeste Moratti, Ella Olesen, Katie Pelensky, Erin Roth, Joe Staton). In my note to the audience wanting to see this show, take it in slowly and breathe in the energy that the actors give during the performance. Some moments are fast and quick; however, this was a fresh breath in the world of theatre and performance art.

A character of storytelling portrayed by Bob Brader was a show not to be missed. Short but remarkable and stellar in the arts, it turned the concept of a storytelling narrative into grand aspirations for the audience on the stage.

​As creator and writer, Brader brings a new page in the animalistic approach to life, offering valuable insights into pet ownership and a reminder of love within, where harm was provoked in previous relationships. Mainly with the concept of placing themselves in a simple way of life, but in a foreign, unknown sense to the audience that keeps you laughing and on the edge of your seat.

​However, during the show, with the material fresh, an unpreparedness of the performer was incredible throughout, with some moments of line skipping and forgetfulness that, under the aspects of the level of performance, made a difference, but not entirely enough to forget about the accidental forgetfulness of the performance.

​On the contrary, an actor's dream was presented in this role, a breeze of powerful characterization that established a well-seasoned work of art. I would recommend this show to anyone for solely that reason alone.

​Director Suzanne Bachner established the concept of a performance that gave into the powerful message of love and ownership, and shaped the show to become a reinforcement of all things: hope. Uniquely, I would critique the theme, but in this show, hope inspires. Bachner allowed the concept of this to be a short, but inspiring piece of theatre. A story that is sure to get to your heart, but also emotionally fill a spot.

​In the end, there is a method of madness that is shown in this production; from the beginning of a love story to the end of a rebirth, a circle is formed beautifully. Everyone must hear Kitty Daddy.

Improv: the art of keeping the show and the plot going, and more importantly, blending Shakespeare into it! It’s hard to pass on this; the performance was delightfully unpredictable and funny, yet respectful to the source material without cheapening it. Improv As You Like It is a highly skilled improv troupe that creates an unscripted "Shakespeare" style play on the fly, adhering to classical structures and formats while letting spontaneous comedy lead the way. It is great fun, and creating a cohesive Shakespearean narrative on the spot is a true testament to their talent. I was stunned, to say the least, and confident that this experienced team will deliver more standout shows in the future, judging by the past one-night-only performances they mentioned.

 Tonight’s one-off performance of "Midsummer Night's Cream" was an impressive exploration of family dynamics. While that exact show will never happen again at Under St. Marks, anyone looking for an adventurous night out in New York City should catch a performance by this local troupe.

For those wondering: yes, it was hilarious; yes, it featured witty nods to history; and yes, it was entirely unscripted. At its core, it is a solid 60 minutes of pure improv wrapped in classical flair. The show captures the essence of what makes Shakespeare enduring, balancing the core mechanics of tragedy and comedy in real time. It is a one-of-a-kind experience sure to leave a lasting impression.

Canto 250, a spectacle of political commentary, is where most of the concept of the ideals that make political theatre a great show wasn’t displayed on the stage; however, I wasn’t thinking that this show was bad in concept; having a show with a modern climax of political aggression was perfect for America 250. The plot starts with two characters on the stage, a man and a woman. Both are working in respective career fields, however, with vast differences. Phil (Scott Schneider) is a working artist who runs a fellowship in the field for artists and writers, and Liberty (Penelope Deen) is a DOGE employee from the government. DOGE (Department of Government Effectivity) is a part of the conflict of the masses, which is a common issue experienced by all artists and organizations across the United States. This show relates to many of the artists and theatres, all of which needed to resonate with the message that was spoken. Phil’s relationship with himself was very important for the concept, belief, and the themes of resentment that were played in the story, but that wasn’t the main thing that was focused on in the show itself. It wasn’t what was being said on the important stage; it was the underlying message that wasn’t being heard on stage: the tears for the artist and the organizations that were being taken over by the government. The audience was in a state of confusion about why this was happening and what was so important for this to exist; most of the show was somber, effective, yet provoking. I was breathing in the air of the struggling artist, but in the sense that those around me were as well. The concept of the living, but also the concepts of being in the same state of the historical moment, is the revealing of the play; however, it’s not just the play itself that makes a good show; it's a good chemical in the water of the theatre and history that makes a good production. The government was portrayed as the antagonist in Canto 250; director Peter Green is a mastermind of the ability to manipulate the audience into thinking Phil might have a classical hero’s journey; however, in that sense, you would think wrong. In a bad show, you would know that a plot twist is coming; however, in a good show, a plot twist isn’t necessary to be kept on the edge. I appreciated the play, and especially the brilliant playwright George Krajica's thoughtful insights on the current state of the government; it’s the ideals that most of the inner dialogue was about, a respected taste of the 1st Amendment of the United States at the stand. Projection/Lighting/Sound Designer Victor Vabuan Jr. designed a state that created a tense world, but a much-needed world, a hoarding house, but also marked a transitional period in the moment of despair, which is effective for the characters to grow from within. The audience loved the moments of comedy; most of this love came from Marcus (Noam Ben Yakir). An ending of clarity: Phil gets what artists deserve. An ending of happiness and financial stability. A short, yet emotionally intense play, which was a great representation of the state of America. I wouldn’t skip this show if I were you, and I wouldn’t want this show to end. A real tragic state of the arts, displayed on the stage. A real introspective flaw of human existence, displayed before your very eyes. 

Shakespeare's Macbeth Meets a Drag Explosion!

 Whoever knew Shakespeare would be on the same planet as his work turning into drag? It reminds us that all works of art can be transformed into something different, something better, reinvented to reflect today's artistic landscape. The show demonstrates that we need more reinterpretations of classic work and less focus on playing it safe, delivering instead what audiences truly need to experience. In my eyes, I can only begin to imagine the best use of the creative forces talented artists possess. Only then can a show such as Poor Hanging Fool step into the spotlight, capture the soul of the audience and culture, and create something most wouldn't think to ask for, but need to see to believe. Magic in the humanities and theater can generate moments we celebrate while pondering what makes Shakespeare a genuine success in 21st-century art.

Poor Hanging Fool brings together the expression of drag, themes of self-dignity, and, of course, Macbeth. Featuring pop-relevant songs tied to emotional storytelling, skilled dance performances, and high-quality puppetry, the show ensures there is never a dull moment. This was a thoroughly entertaining experience that highlights the value of experimenting with theatrical mashups, turning historically performed work into art that speaks directly to modern audiences.