There are many layers to the onion that is Hucka. There are equal parts theology and mythology on this journey down the river. Past folds over present, and memories emerge from the fog. Check out our review, written by Nicole Jesson!

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!

Kind Stranger was both a tribute and an invitation: a chance to see Tennessee Williams not as an untouchable legend but as a man who lived, loved, and wrote with uncompromising truth. Check out our review written by Malini!

This rollicking world premiere of The Royal Pyrate—brimming with brine, ballast, and a bootlegger's spirit—is a spirited creation from the talents of composer-lyricist Jason Landon Marcus and book writer Chas Libretto, who have taken the rough-cut legend of “Black Sam” Bellamy and burnished it into something bright, brassy, and wonderfully briny.

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.

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.

“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!

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!

Sara Fellini’s pen is wickedly sharp and luminously sensitive, offering a portrayal of the artist that is at once unflinching and darkly ecstatic. Here’s our review of NEC SPE (The Las Confession of the Brute Painter Caravaggio).

In Manifest Destiny, playwright Manuel Ortiz exhumes a phantom—one cloaked not in the garb of Shakespearean melancholy, but in the bloody regalia of imperial arrogance masquerading as righteous deliverance. Here’s our review by Tony Marinelli.

The mission of the Anthropologists is to create “investigative theater that inspires action”, and with this interactive production, Axes, Herbs, & Satchels: Open the Archives, they do just that. Here’s our review by Alexandra de Suze.

As part of the 2025 NYC Fringe Festival, The Phantom of the Opera’s Friend is a one-man show directed by Catalina Beltrán, in which Michel captivates the audience for a full 60 minutes without a single pause. Check out our review, written by Bianca Lopez.

This comic-send up of Spielberg’s 1975 blockbuster film, JAWS is a hoot. Check it out as part of the 2025 NYC Fringe Festival. Read our review by Nicole Jesson.

If there’s anything to take away from F***ed Up Fairytales, it’s this: themes and lessons are everywhere, whether you’re seeing a story come to life on stage, reading it on a page or living a (hopefully) slightly less grim version of them. Here’s our review written by Amanda Montoni.

The New York City debut of The Death of the Swan in the NYC Fringe Festival is a dance piece, featuring Maddie Natoli as the iconic ballerina Anna Pavlova, which offers a delicate and haunting homage to the famed prima ballerina who once took The Dying Swan on a worldwide tour in the early 20th century. Here’s our review.

Need More Work's Anti-Gone in the NYC Fringe Festival reimagines Sophocles' Antigone with a bold, ensemble-driven take. Compact, innovative, and accessible, this version of Antigone could easily find a home in schools or on tour. It’s rare to find a piece that both entertains and teaches, that honors the old while playing with the new—but this one does. And it does it well.

Writer and director Zoe Senese-Grossberg’s retelling of Mary Shelley’s Gothic classic Frankenstein or A Modern Prometheus is a spectacle of a classic told in the most combustible, soul-clenching, and fuel-igniting way. Check out our review by Bianca Lopez.

Come explore the Antarctic in La Mama Experimental Theatre Club’s adaptation of Ursula K. Le Guin's story, SUR, to reach new heights with the heart, by way of the mind, so that the soul is touched in knowing anything is possible. Check out our review.