Honor: An Artist Lecture by Suzanne Bocanegra Starring Lili Taylor stands as a singular beacon of theatrical exhilaration—an experience both cerebral and sensorial, riotous yet meticulously composed. Read our review, written by Tony Marinelli!

Our reviewer, Malini, knew Exorcistic wasn’t going to be a straightforward retelling of The Exorcist. What she got was the unholiest of the unholy: a chaotic, hilarious, and surprisingly thoughtful rock parody that leaned all the way into meta-theatre. Check out the review!

In Smoking Mirror Theatre’s clear-eyed, sharp-toothed, and slyly entertaining production of The Life and Death of King John, director John Gordon resuscitates this oft-dismissed political drama with such invigorating intelligence that one might be forgiven for wondering what generations of literary critics have been reading all these years.

In this blisteringly funny and profoundly affecting solo performance, comedian and storyteller Bill Posley invites us not merely to witness his life’s extraordinary detour into war, but to walk beside him, combat boots on the ground, through terrain where absurdity and anguish march hand in hand. The Day I Accidentally Went to War is a truth bomb.

Enter: Get Your Ass in the Water and Swim Like Me, a marvelously unexpected collaboration between Director Kate Valk and the magnetic Berryman, an actor with the poise of a preacher and the mischief of a jester.

. In this exquisitely calibrated meditation on grief, survival, and the curious alchemy of connection, McIntosh delivers that rarest of theatrical miracles: a truly original story, born not merely of clever conceit but of deep, deliberate thought. Check out our review by Tony Marinelli.

From the raucous and rebellious minds of Daniel Judes and Jay Whitehead comes UNSEX’d—a gleefully irreverent, gorgeously crafted, and intellectually nimble play that struts into the limelight not merely as a clever footnote to Shakespearean lore, but as a bold and blazingly contemporary reclamation of the Bard’s legacy.

José María Ruano de la Haza, in his translation/literary adaptation, gives us Hamlet: La Telenovela towering above all other reinterpretations for its audacity and sheer theatrical delight. Here’s our review, written by Tony Marinelli.

To find oneself, not merely witnessing, but experiencing the rememberance of Frank Maya in Can I Be Frank? is to enter a realm where memory, performance, and raw neurosis collide in a dazzling, kaleidoscopic fugue. Here’s our review written by Tony Marinelli.

In this richly woven solo performance, Jeremy Rafal charts a journey not merely across geography—from the sun-drenched provinces of the Philippines to the electrifying sprawl of New York City—but across identity, ambition, and the resilience of the human spirit. Here’s our review of The Boy from Bantay!

“As a lover of Shakespeare’s The Tempest since I first read it in high school, I would have never guessed it could be retold in a secluded lake-side cabin in Appalachia. Even more than that, I would have never expected it to be a musical,” writes our reviewer Niranjani Reddi. Check it out!

Graham Kay's Pete and Me is a riotously exaggerated confessional delivered with just enough sincerity to crack your heart. It’s absurd. It’s dark. It’s affectionate. And above all—it’s ferociously funny. Read our review here!

At the turbulent heart of Dilaria lies a performance of remarkable audacity and intensity. Make no mistake: Dilaria is not for the faint of heart, nor the irony-impaired. Check out our review written by Tony Marinelli.

In his one-man-show, Steve Burns: Alive, Steve Burns brings what we all dismiss to the surface: the impact of the internet blurring the lines of truth vs. fact. This Nickelodeon staple goes beyond the world of Blue's Clues, and connects directly to our our hearts and minds.

Joey DeFilippis and Matthew Ferrara not only wrote this sharp comedic allegory about the treatment of immigrants and the “othering” of minority Americans, but they also embody Sacco and Vanzetti with captivating energy. Check out our review of Sacco & Vanzetti Are Dead!

What unfolds in Ok, bye! is not simply a performance, but a living, breathing act of radical truth-telling, carved with humor and heartbreak from the everyday ruins of rejection. Here’s our review written by Tony Marinelli.

Peter Doyle has a disembodied head in his apartment. He doesn’t know where it came from. He doesn’t know when it arrived. It is there, and very much alive. The head doesn’t know where it came from either. Check out our review of Peter Doye's Incredible Head.

Can improv be cohesive? Absolutely. Think Whose Line Is It Anyway?—structured, comedic, sincere. That’s what Carl Holden delivers here in Out of Order.

David & Katie Get Remarried, written and performed by David Carl & Katie Hartman, is a glorious train wreck. Schadenfreude doesn't begin to explain it. Check out our review by Nicole Jesson!

A Letter to Lyndon B. Johnson or God: Whoever Reads This First is a piece so brimming with theatrical mischief and nostalgic Americana that one feels less an audience member and more a willing time-traveler. Check out our review!