Pony Cam’s Burnout Paradise is a madcap smorgasbord of actions that are tied together by a final aim: complete a number of tasks in a certain amount of time, all while walking on a treadmill. Part performance art, part physical theater, the show opens with four performers—Claire Bird, William Strom, Dominic Weintraub and Hugo Williams—on treadmills under a large screen displaying the words “Warm Up.” A soft, muttering soundscape (created by the ensemble) floats through the air, offering thoughts on greatness—“If greatness doesn’t come knocking on your door, you should go knocking on its door.”
The Z Team
It may be an overgeneralization, but let’s put it out there: In stage comedies, the more the cast laughs at its own purportedly hilarious exploits, the less the audience does. The onstage hollers and whoops are frequent and loud in The Z Team, Jeff and Jacob Foy’s workplace yuk-fest at Theatre Row, and while some of the audience seemed to enjoy it, those seated in E1 and E2 barely cracked a smile.
Another Shot
It’s a fallacy that addiction can be cured by a stint in rehab. Anyone celebrating sobriety can affirm that the process of recovery takes decades—and is often lifelong. Nevertheless, a rehab experience can trigger a life-changing awakening. This unpredictable process is at the center of Spike Manton and Harry Teinowtiz’s Another Shot, a poignant exploration of Teinowitz’s alcoholism and treatment. Director Jackson Gay keeps the play teetering between denial and acceptance, and between comedy and tragedy.
Kafkaesque!
Kafkaesque!, a clever new musical comedy with book, music, and lyrics by James Harvey, draws together the life of Czech novelist Franz Kafka and his major (and one minor) works. The show opens with Kafka (Harvey, a talented composer and pianist) at the piano as he defines who he is: a writer whose work has had so much impact that he’s become an adjective. The opening song about “the evils of bureaucracy, modernity’s alienation, man’s talent for hypocrisy, neuroses and fixation!” showcases the main themes of Kafka’s work that are woven together in the musical.
Hold On to Me Darling
The price of fame is at the heart of Kenneth Lonergan’s Hold On to Me Darling, a 2016 play that premiered at the Atlantic Theater Company, directed by Neil Pepe. In Pepe’s superbly cast revival, Adam Driver now plays the main character, Strings McCrane, a renowned but feckless country and western singer who enjoys casual romantic relationships but wants more.
Woof!
At first glance, Hannah Gadsby’s Woof! feels like a show strung together with seemingly disparate threads, starting with the performer’s entrance on to the stage at the Abrons Arts Center’s Henry Street Settlement Playhouse, where Gadsby, who uses they as a pronoun of choice, opens the show with a statement about whales, of all things. The topics Gadsby covers range from popular culture to sociopolitical commentary to gender-identity politics. A newcomer to the comedian’s work might wonder how Gadsby would eventually tie these thoughts together, but their stand-ups often veer more toward TED Talk territory than a traditional stand-up structure. Still, as Gadsby promises the audience of Woof! at one point, there is a theme to all this.
Ghost of John McCain
Scott Elmegreen and Drew Fornarola’s lively satiric musical Ghost of John McCain has a throw-anything-at-the-wall feel to it, but it’s apt: the action takes place inside the mind of President Donald Trump between Aug. 25, 2018 (the date of John McCain’s death) and Jan. 6, 2021. Given the attention span of the ex-President, it’s no wonder that events in his mind carom around like billiard balls.
Merrily We Stole a Song
Broadway productions may be acclaimed or panned, long-running or doomed to early closure, launch a career or cancel it. Inevitably, though, they are easy targets for satirists. Forbidden Broadway: Merrily We Stole a Song, created, written and directed by Gerard Alessandrini, spares no barbs when humorously and semi-lovingly critiquing new Broadway hits, revivals, and their audience.
Table 17
Why should one have to go to the movies to see uncommonly attractive people flirt, fall in love, botch their relationship, have their heart broken but maybe live happily ever after anyway? Playwright Douglas Lyons has brought that beloved cinematic staple, the romantic comedy, to the stage with Table 17.
Pretty Perfect Lives
Technology is being used more, and more inventively, in scenic and production design for the theater. Social media has become a vital part of marketing—and occasionally casting—shows. But tech has yet to make a big impression in theater as a subject. Three decades into the 21st century, plays about life in the digital age are still scarce. (Maybe that’s why Job, which recently transferred to Broadway, hit a nerve.)
Cellino v. Barnes
If you’re of an age, you can’t forget it: That jingle, insistently catchy, as maddening as the one for the Mister Softee truck. “Cellino & Barnes! Injury attorneys! 800-888-8888!” It first appeared in 1998, haunted generations, and if Roy Cellino Jr. and Steve Barnes had not squabbled their empire into dissolution shortly before Barnes crashed his plane in 2020, we might be listening to it yet.
Six Characters
Italian playwright Luigi Pirandello’s Six Characters in Search of an Author is considered a pillar of modern drama. To say Phillip Howze’s new play Six Characters deconstructs it would be a massive understatement, as Howze pours a bewildering array of ideas and scenarios into his homage.
Bringer of Doom
To “kill,” in the parlance of stand-up comedy, is to fully win over an audience. And while a burly comic is one of the central characters staggering his way through Joe Thirstino’s toxic satire Bringer of Doom, the specter of killing, in the traditional sense of the term, is the larger presence on stage. There are no guns going off, but there are plenty of triggers. Attempted murder, attempted suicide, alcoholism and depression are the stars of this production, with cameo appearances by vengeance and indifference, not to mention an offstage death caused by a wayward sea mammal.
A Midsummer Night’s Dream
A Midsummer Night’s Dream, streamlined to 90 minutes and staged outdoors by Classical Theatre of Harlem, is as cool and fizzy as a glass of Prosecco. Judging by the wild guffaws and applause on opening night, the zanies who populate this most fanciful of Shakespeare’s comedies (embodied by a top-flight cast of youthful New York actors) kept a steady hold on playgoers’ attention, despite the distraction of sirens punctuating the Bard’s iambic pentameter, helicopters overhead, and heat only slightly below the day’s high of 90 degrees Fahrenheit. At a dramatic moment, an explosion of amateur fireworks just outside the amphitheater added a fortuitous burst of red and orange to the twilit sky, eliciting a gasp of audience amusement.
Much Ado About Nothing
The skirmish of wits between Shakespeare’s Beatrice and Benedick takes on a modern spin in a new production of Much Ado About Nothing, set in 1940s Italy. Director Thomas G. Waites utilizes the unflagging energy of a rotating cast from Waites TGW studio to fire up Shakespeare’s romantic comedy.
Midnight Coleslaw’s Tales from Beyond the Closet!!!
June is Pride month, and in theater one can expect a smattering of shows geared toward the LGBTQIA+ community. Even OpenTable has a guide to drag brunches—they are apparently a thing. Capitalizing on the June celebration is Midnight Coleslaw’s Tales from Beyond the Closet!!!, featuring three one-acts written by Joey Merlo and starring Charlene Incarnate, who plays Midnight Coleslaw. If OpenTable were listing it, the 55-minute show would only qualify as a side dish.
All of Me
Who says that people with wheelchairs who text to communicate can’t fall in love, or that their radically different upbringings, social classes, life goals, and medical diagnoses preclude joy with each other? Are they, like lottery ticket holders, more likely to be struck by lightning than love? All of Me’s playwright Laura Winters and director Ashley Brooke Monroe weave a moving and humorous tale of two lonely, bright, and funny individuals whose disabilities don’t define them or their life choices.
Twelfth Night
The Axis Theatre Company’s new adaptation of Shakespeare’s Twelfth Night is something to celebrate. Directed by Randall Sharp, and superbly performed by a 12-member ensemble cast, this Twelfth Night is a wild and wonderful romp through Illyria.
The Miser
Summer means free theater in New York, and Molière in the Park, an organization co-founded by Lucie Tiberghien and Garth Belcon. The Miser becomes the third free production at LeFrak Center, following The Misanthrope (2022) and Tartuffe (2023). Directed by Tiberghien, it’s an invigorating new version of the French playwright’s 1668 satire.
The Actors
Boundaries of all types are tested in Ronnie Larsen’s comedic and big-hearted family chronicle, The Actors. The line between Democrat and Republican is pulled taut, as is the division between atheist and religious believer. But those are relatively minor concerns for the playwright. More to the point are the boundaries of grief and how to break through them, the borders of what constitutes a family, and what limits stage actors might burst through when their roles take over their lives. As farcical as it is melancholy, there are as many surprise door knocks in the play’s two acts and two hours as there are woeful revelations.