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What to see in New York during the holidays
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What to see in New York during the holidays

Discover all the festive shows on Broadway and beyond.

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'& Juliet' — ★★★★
Review
'& Juliet' — ★★★★

A fresh story, high energy, and plenty of chart-topping bops make this larger-than-life musical impossible not to have fun watching.

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Broadway Reviews

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  • If one thing stands out about The Collaboration, it’s that it offers the most fun on Broadway even when the play isn’t happening. A live DJ spins '80s hits before the show, with colorful dots of light, like paint splatters, spinning across the wall. At intermission, a reel plays of lead actors Jeremy Pope and Paul Bettany, in character as Jean-Michel Basquiat and Andy Warhol, painting, roller-skating, and generally hav

  • This critic all but keeled over when a character in Between Riverside and Crazy on Broadway said to another, "You're paying $1,500 a month for a palatial mansion on Riverside Drive worth ten times that." Oof. Said "mansion," as suggested by Walt Spangler's enticing set, is a rent-controlled apartment with two stories, at least six rooms, and cushy, if ill-maintained, furnishings. Meanwhile, I know people who

  • “What are you thirsty for?” teases Sweet Sue, a brassy Prohibition-era bandleader, in the opening moment in Some Like It Hot. Well, since she asked, I’d like a new Broadway musical comedy that’s a bracing, fizzy cocktail garnished with a winning cast. Happily, this lavish show based on the Oscar-winning 1959 Billy Wilder classic rom-com mostly delivers that. Screen-to-stage adaptations are always tricky endeavors, and

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    Off-Broadway Reviews

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  • A Christian church, however progressive, is perhaps one of the most antithetical places to have a sexual awakening. That, or to have a fall from grace. But in Julia May Jonas's Your Own Personal Exegesis, both happen on a collision course at [Redacted] Church in [Redacted], New Jersey. A lot of things are redacted in Exegesis besides the church's name — the last names of every character, for one, in the chu

  • As you settle in at Lloyd Suh’s The Far Country, you’ll see a figure seated on stage. Facing away from the audience and still as a statue, he’s been perched there since the audience was allowed in. He sits. And sits. And sits. This staging suggests detention and waiting figure prominently in this intriguing yet sometimes elusive drama about people from Taishan, China, whose lives intertwine to form a family. In 1909 S

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