If you've seen Blue Man Group in NYC, you've been to the Astor Place Theater. With around 18,000…read moreperformances, the troupe called Astor Place home. I've gone to a number of off-Bway theaters. This one is like most others: narrow seats, little legroom, relatively small. The building itself is interesting, dating back to 1831 and designated as a landmark in 1963. The current presentation is "Burnout Paradise," hysterical performance-art by an Australian collective of experimental theater-makers. The performers do increasingly difficult stunts, ie cooking a three course meal while running on treadmills. If you're staid and stodgy, stay home. This wouldn't be your kinda thing.

Saw Burnout Paradise here. Theatre is pretty good. The stairs to get to the second level are a…read morelittle steep, and the seats are very snug. For a fun-size or tall person, they are probably a very tight fit, heck I'm only 5'6 and 170, and I was a little uncomfortable. The staff were all friendly and personable. Having said all that, if there was another show I was interested in, I wouldn't hesitate to go here again.

REVIEW: "Ragtime" (2025 Broadway Revival) at the Vivian Beaumont Theatre on May 22, 2026…read more It turns out the third time is indeed the charm as this is the third Broadway production of the show since the debut of the well-regarded 1998 musical. The previous versions apparently collapsed under the weight of production bloat and runaway costs, but this ambitious show wisely started as a stripped-down Encores concert and from there, was built into a more fluid production befitting the rotating stage at this large scale venue in Lincoln Center. Based on E.L. Doctorow's sprawling 1975 historical novel, it's still an ambitious work with multiple storylines as the show follows three families of diverse social backgrounds and economic means in the early 20th century. Their lives intersect in ways that echo the racism, anti-immigration, and class warfare prevalent of the time. That the themes reverberate now enhances the emotional power and political relevance of what was deemed a period piece. Terrence McNally's book focuses effectively on the key elements of the rich source material. The music by Stephen Flaherty and lyrics by Lynn Ahrens lend dimension to songs that advance the narrative without contriving the challenging circumstances facing the characters. What was truly impressive was how a huge ensemble cast was showcased in ways that complemented each other seamlessly under Lear deBessonet's assured direction. The spotlight is on the three principal players. As kind-hearted Tateh, Brandon Uranowitz brings poignancy and humor to his character's immigrant journey. In the late Marin Mazzie's classic role, Caissie Levy gives Mother a textured strength that moves to the foreground with her solo number, "Back to Before". However, it's Joshua Henry's stirring turn as pianist Coalhouse Walker Jr. that stays vividly in memory. His soaring vocals were a revelation to me. This is my fourth time seeing him perform on Broadway, but his versions of "New Music" and especially "Wheels of a Dream" were transcendent. His duet partner on the latter, Nichelle Lewis as Sarah, is solid though overshadowed in the role that gave Audra McDonald her third Tony. Allison Blackwell as Sarah's nameless friend almost steals the show with the Act One closer, "Till We Reach That Day". The limited run is scheduled to end on August 2. RELATED - Interested in my other Broadway reviews? Here's a collection of shows I've seen and reviewed: https://yelp.to/58PIWQRZSX

Ragtime is one of my favorite musicals (especially its score), by Terrence McNally, Lynn Ahrens and…read moreStephen Flaherty... and this revival which was originally staged at Encores City Center, beautifully honors the original production from 30 years ago. Casey Levy, Joshua Henry and Brandon Uranowitz lead this Tony Award winning cast! I highly recommend it and wish I could see it again before it closes at Lincoln Center in August 2026.

The Lost Boys completely exceeded my expectations and has easily become one of my favorite Broadway…read moremusicals. The cast delivered phenomenal performances from start to finish. Every actor brought so much energy, emotion, and charisma to their role, making it impossible to look away. The vocals were outstanding, and the chemistry among the cast made the story even more engaging. The stage design was incredibly creative, seamlessly transforming scenes while immersing the audience in the world of the show. The lighting, projections and special effects were impressive and the sound effects created many jumping moments for me. Overall, it's a coming of age horror comedy and the production is an absolutely thrilling. It's visually stunning and packed with unforgettable moments. I left the theater completely wowed and would happily see it again.

This has now become my 2nd most favorite musical of all times in my chart of favorite broadway…read moreshows to watch. Congratulations to The Lost Boys on winning the 79th Tony Awards (2026) for Best Performance by a Featured Actor in a Musical + Best Performance by a Featured Actress in a Musical. The musical performances of each actor and actress is absolutely phenomenal and mesmerizing to say the least. Such great, talented people! During the livehigh-energy performances of "Have to Have You" and "Lose Yourself" from the entire cast, it reminds me so much like an actual rock concert with the live band in between the musical. The two floors plus the furniture inside depicting the family house on stage are very detailed with antique finds in the different multi-story sets. Since small but charming and aesthetic details can really help to convince and persuade the audience that the storyline has indeed occurred during the late eighties era. I'm most amazed by the staging + production design + lighting + stage magic from The Lost Boys more than the storyline itself. Didn't get reeled in from the great chemistry and great acting between the characters even though those factors are just as important. The motorcycle chasing and high-flying scenes are what made me as a part of the audience really fascinated by the whole production. I find those parts to be the main highlights and attractions of The Lost Boys. I am most impressed by the vocals of actress Shoshana Bean who is playing Lucy (the boys' mom). She's singing her heart out and hitting all the high notes with such emotions and passion throughout the entire show. The lines of actor Benjamin Pajak playing Sam (the younger brother) is hilarious to the max. The audience can see that especially in the scenes where he argues and interacts with his older brother Michael (played by LJ Benet). The friendship between the Frog Brothers (Jennifer Duka + Miguel Gil) and Sam seems to be strong even though they haven't known each other for long. The comical acts and good chemistry from the three actors make it super fun to watch. Don't forget to do stage dooring after the show ends though! You can get your playbill signed by some of the cast when you wait for the actors to come out from the side door. Be sure to have your playbill/merch/posters and sharpies ready! Everyone from the cast is super friendly and lively. Overall, The Lost Boys is a great musical for everyone (mainly teens and adults) to see whether or not you have a liking of vampires or the late eighties era. It's a coming-of-age story full of love, laughter, family, perseverance, the switch from childhood to adulthood, identity and sense of belonging. Additionally, there may be some darker themes like child abuse, heartbreak, danger, trauma, domestic violence, murder, and family tension.

This year's thanksgiving day parade is very cool especially because they have a Pop Mart cart! The…read morePop Mart cart has LABUBU, Mokoko, Dimoo, Skullpanda, and Peach Riot! It looks so cool! I was so ecstatic that they got Pop Mart in the parade and it is that popular to be in the parade! They also got a Minnie Mouse float, which is the same exact thing as last year! I saw Gabby and many more favorites Buzz Lightyear and Paw Patrol! Lil Jon was performing a throwback and Busta Rhymes look pretty cool performing. It's cool to see these old rappers perform. They got the Kpop Demon Hunters Cast performing the Golden song! A catchy tune that is very addicting! I can play it on repeat! Overall, it is pretty cool this year that they got more Asian sensation in the parade with the Pop Mart characters and K-pop Demon Hunters cast performing!

This was my first time attending and I was out there At…read moremandatory time of 5am! Can you believe the streets were already filling up at 5am with people. It was pouring and I mean torrential downpour but people came out and showed up. The floats were so beautiful. It was organized. Police everywhere and I felt safe. I was working bleacher which was right at Columbus circle so no issue getting to the train station. My advice : get there EARLY to get a decent view! I can't wait to return

I found this historical architecture is very interesting, as the Swedish Cottage Marionette Theatre…read morewas originally imported as Sweden's exhibit in Philadelphia, then it was brought to Central Park, where a permanent theater was constructed inside the establishment. This performance theatre is mainly for children and families, and it was once used for birthday rental venue.

The Swedish Cottage's Marionnette shows are fun for the while family. Short enough to hold…read morechildren's attentions, but also very entertaining with original songs. We've seen two shows and while one was definitely better than the other I would still go back for more when in NYC. Going to a puppet show is also a good excuse to spend some time in Central Park. We LOVED the show Wake Up Daisy when we saw it a few years ago. Little Red's Hood didn't have the same magicwith less charecters and songs, but was still fun.

Now in its twenty-ninth season, this Asian-American theater company provides opportunities for…read moreperformers whose chances are limited by mainstream productions with few roles they can fill, and for playwrights whose voices otherwise would not be heard. They often sponsor readings of works in development, suggesting donation amounts rather than charging for tickets. With their Spring 2006 color-blind production of Noel Coward's 'Private Lives,' they hope to continue to prove that the casting of any play need not adhere to ethnic restrictions. Note that the address here is for the administration offices. The company actually performs uptown at the West End Theatre at 263 West 86th Street, between Broadway and West End Avenue.

Pretty decent from what I've seen. I've been an usher, audience member and performer for this…read morecompany. I've been treated well in all respects. And they tend to put on quality products in an array of spaces throughout NYC. I definitely recommend keeping tabs on what they offer and doing your best to see their productions.

REVIEW: "Two Strangers (Carry a Cake Across New York)" at the Longacre Theatre on May 23, 2026…read more In between two heavy-duty, critically acclaimed Broadway revival productions ("Ragtime" and "Death of a Salesman"), Jamie W and I went to see this entirely original show, a charming and energetic two-hander starring genuinely likable leads with loads of talent. This British-born musical was written by Jim Barne and Kit Buchan almost as a valentine to New York, and consequently, playing now in a Broadway house merely enhances its quirky local appeal. The lightweight premise rests on Dougal, a twentysomething Brit who flies to NYC to attend his estranged father's wedding. He is met at the airport by Robin, a native New Yorker and rather cynical barista whose older sister is marrying his father. True to the title, she needs to pick up the wedding cake, and he tags along. What ensues is the predictable opposites-attract hijinks that set them up for romantic entanglement. You would think the predictable plot turns would trivialize the story, but the leads allow the show take flight. With boisterous elan, Sam Tutty manages to make Dougal's relentless cheerfulness both a badge of honor and a protective shield. I remember Christiani Pitts from her feisty 2018 starring role in the failed "King Kong" Broadway musical when she was overshadowed by a humongous puppet (review: https://yelp.to/_k86558D_q). As Robin, she is much better served by the human size story here, and she nicely handles the blossoming of her character's initially guarded persona. They both bring real joy to their cavorting, and director Tim Jackson's fleet direction helps maintain the show's buoyancy. Scenic designer Soutra Gilmour cleverly furnishes the rotating stage with grey suitcases of varying sizes to provide creative flexibility to the settings of the scenes. RELATED - Interested in my other Broadway reviews? Here's a collection of shows I've seen and reviewed: https://yelp.to/rZXVLuQC-Z REVIEWS FOR OTHER CURRENT SHOWS: Ragtime: https://yelp.to/sWzv8ZhyQd Death of a Salesman: https://yelp.to/IYirH7MN-R

REVIEW: "Here Lies Love" at the Broadway Theatre on September 3, 2023…read more This highly immersive show took nearly a decade to make it to Broadway, and I have to say it left me a bit cold. Pre-recorded disco pop is just not the way to my empty Sondheim heart. Written by David Byrne and Fatboy Slim, this episodic musical covers the 20th century political history of the Philippines in ninety minutes with no intermission. The simplistic plot revolved around Imelda Marcos with Ferdinand more of a shadow figure. Constantly challenging their regime was Ninoy Aquino presented as Imelda's former childhood sweetheart. The set-up felt very much like the demagoguery in "Evita" but on a more shallow level like a Vegas-style variety review targeted to indiscriminate tourists much like Rock-a-Hula on Waikiki. The production's chief novelty is that the Broadway Theatre was turned into a Studio 54-era disco with multi-dimensional screens on the surrounding walls. The seats were removed to allow the actors to perform and move about on modular elevated walkways. Half the audience (including Jamie and me) stood on the main floor for the duration of the show...but that's not all. Between key scenes, we were signaled by uniformed ushers to move to allow for different configurations of the walkways. Periodically we were directed to dance as if no one was watching. All of this led to the inevitability of squashed feet and jousting elbows. It was exhausting, and even though we were past the days of mandatory social distancing, it made me feel anxious. The cast was energetic but frankly not all that impactful. Arielle Jacobs made an especially buoyant Imelda, but understudy Aaron Alcaraz delivered a particularly tone deaf Ferdinand. Conrad Ricamora fared much better as the fiery Aquino. A couple of other performers had standout moments: Reanne Acasio as Aquino's mother Aurora on the ballad, "Just Ask the Flowers" and Moses Villarama, the DJ, leading the chorus on "God Draws Straight", poignant given another Marcos is running the country now. RELATED - Interested in my thoughts on Broadway shows past and present? Here's a collection of reviews I've written: http://bit.ly/31uxyL1

What if David Byrne joined forces with Fat Boy Slim to tell a story of someone famous with a…read moresoundtrack? Would it be danceable? I wonder what that would be like? It depends on what you're expecting. We were on the dance floor. On one side was a young girl and her mother from Manilla, on the other side, a loving father and his son. So many beautiful people, experiencing a musical biographical account of someone's life! The moving dance floor created an interactive experience for those of us on the floor, moving around as directed by a small staff. For those in the audience, I can only wonder what it was like for them to look down on us in the audience. The cast was incredible and the venue was an intriguing transformation. A truly interesting experience. One thing to note, in a dance/nightclub environment the BPM is constant and increases as time moves forward. That isn't the case in this production. This was a real disconnect for me between dance club environments in a Broadway performance. You can't have it all.