Theatre Beyond Broadway is dedicated to amplifying the voice of the Independent Theatre Artist.
This includes reviewing shows and projects.
Check out our published reviews below!
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the reviews
Peter Doyle’s Incredible Head
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.
David and Katie Get Remarried
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
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!
MANIFEST DESTINY
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 Adventures of Pussy Jones
What would result if AI wrote a play? Well, this is the result of a playwright imagining AI’s writing skills. Gab Cody presents The Adventures of Pussy Jones. Check out our review!
Prosperous fools
Prosperous Fools is a glorious mess: bloated, brilliant, self-indulgent, and searingly funny. It’s also vital. Here’s our review written by Tony Marinelli.
At the barricades
At the Barricades doesn’t ask you to sit back and watch. It asks you, like the characters: You’re here now—what are you going to do? Check out our review by Malini Singh McDonald.
Tiger Tail
Tiger Tail drips with Tennessee Williams signatures: oppressive heat, stifled sexuality, and quiet power struggles that eventually explode. Geoffrey Horne’s direction made elegant use of Castle Clinton’s challenges. Here’s the thing about outdoor performance: the elements are always part of the cast.
Leni’s Last Lament
Leni Riefenstahl is holding a mirror up to us so we can see how easy it is to appear comfortable with the world in its current form? How will we be judged by the generations that follow? Will we be remembered for the art or for the artist? And which is more important? Leni's Last Lament leaves us with those questions to find answers to.
BLOOD, SWEAT, AND QUEERS
The past may be a distant country, but here it speaks directly to the fractured, ongoing present. As Blood, Sweat, and Queers unfolds, the life of Zdeněk Koubek resists the neat labels history—and theater—so often crave. Check out Tony Marinelli’s review!
Rhynoceron
Nowhere does this rhinoceros live in art more vibrantly than in KT Shivak's Rhynoceron. The production is beautiful, moving, and positively electric. Read our review here!
The Harlem Doll Palace
Alva Rogers and her ensemble offer us a platform — not just for entertainment, but for legacy. The Harlem Doll Palace is a theatrical gift: deeply personal, highly imaginative, and historically rooted. Read our review by Malini Singh McDonald.
CRACKED OPEN
A lifetime ago, it was not uncommon for families to send away a child who was neurodivergent or had a mental illness - not for recovery, but forever. Cracked Open is a great look at how far we’ve come, but how far we still have to go. Read our review by Nicole Jesson.
She Takes Flight
Adina Taubman’s monologue on her mother with Alzheimer’s gives the play its name, She Takes Flight. It highlights how well this play has been structured from five separate stories and layers them together, playing at The Chain Theatre.
Those Who Remained
Sophia Guthinov has “it”. She truly has that star quality that makes you want to watch her. She is a dynamic, confident performer. Her opening night of Those Who Remained at The Club at La MaMa played to a full house rapt with attention.
Cheers, Mom! Eulogy For A Living Parent
Candance Fox isn’t afraid of facing sorrow while looking for joy. Her work, Cheers, Mom! Eulogy for a Living Parent, is brave and therapeutic, witty and wicked, and strikingly honest. And a perfect way to spend Mother’s Day. Read our review by Nicole Jesson.
We Do the Same Thing Every Week
Robert Leverett brings us We Do The Same Thing Every Week, this brilliant romp through our youthful joys as if reimagined by David Lynch. It's smart, funny, shocking, dark and brought to you by Coca-Cola.
Fat Cat Killers
The creative team of Fat Cat Killers has created a 90-minute piece that flies by in an instant. Here’s our review!
three by tennessee
Returning to The Player's Theatre to see Three by Tennessee by Tennessee Williams, produced by White Horse Theatre Company, was both a trip down memory lane and a theatrical treat. Read our review written by Malini Singh McDonald.
Meet the Review Team
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FOUNDER
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A proud SAG-AFTRA & AEA member, Nicole has worked for The Huntington Theatre, Delvena Theatre, Gloucester Stage Company and Wellesley Summer Theatre as well as producing and directing with Catbox Cabaret and le black Kat theatre. A graduate of the Actor Studio Drama School and Emerson College, she is the author of the children's book Iggy the Snake. Her new short play The Other Woman debuts in Boston Autumn 2025.
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Tony Marinelli is an actor, playwright, director, arts administrator, and now critic. He received his B.A. and almost finished an MFA from Brooklyn College in the golden era when Benito Ortolani, Howard Becknell, Rebecca Cunningham, Gordon Rogoff, Marge Linney, Bill Prosser, Sam Leiter, Elinor Renfield, and Glenn Loney numbered amongst his esteemed professors. His plays I find myself here, Be That Guy (A Cat and Two Men), and …and then I meowed have been produced by Ryan Repertory Company, one of Brooklyn’s few resident theatre companies.
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Amanda Montoni is a professional hat-wearer. One of those hats is, yes, you guessed it, Writer. She has had her short stories, poetry, and children's books published by multiple companies. Her plays have premiered both on stage and in podcast form. Her poetry collection, Thoughts While Singing, was the creative spark for her podcast, The Sweet Madness Podcast, where she interviews fellow theater lovers, poets, and writers as well as any other guests that bring sweetness to the world. Theatre has always been her lifeline, so when she jumped from Actor/Choreogrpaher/Director to Reviewer, she could not have been more thrilled to see her worlds come together.
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Niranjani Reddi (she/they) is a playwright, actor, and producer based in NYC . Previous credits include: Shiv's Project (Priyanka), Seeking Fair and Lovely : Rishtas and Rasas at The Tank (Playwright and Producer), Alley Between the Houses (Zera), While We Wait (Grace), Whippoorwill Calls (Director). She’s extremely passionate about all things related to Indian and Indian-American representation within the Western performing arts space. She works to center these stories in her own work, whether it’s in plays she’s written, or projects she’s acted in. She’s incredibly excited to continue building a community of artists based in and around NYC, who are interested in engaging with the same kind of work she is.
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Marcina Zaccaria has written and edited profiles for Howl Round, based at Emerson College, and has held temporary positions at Conde Nast and Rodale Publishing. Marcina is the Theatre and Opera Editor at The Theatre Times, and her clips can be found online. She has covered theatrical productions for The Brooklyn Rail and TheaterPizzazz.com. She currently enjoys handling editing and layout for Bio Books for professionals at a NY based non-profit organization, and previously worked at EdLab at Columbia University, editing articles for Teachers College Record and the New Learning Times.
As a Dramatist, Marcina Zaccaria has written Village, My Home, performed at the Dream Up Festival at Theater for the New City. Marcina's One Act play, All About Image, was performed at the Broadway Bound Festival on Theatre Row. She has read applications and coordinated rehearsal space for the LIT Space Grant Residency Program and participated at the Catwalk Artist Residency where she wrote The Incalculable Present. A member of the League Of Professional Theatre Women, she was the Co-Chair of Julia's Reading Room where she enjoyed a virtual reading of her play, Love, the TV, and Me.
Marcina Zaccaria received her undergraduate degree from Tisch School of the Arts, and holds an MFA from Columbia University.
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Award-winning multidisciplinary theatre professional with a distinguished reputation for crafting groundbreaking performances. Renowned for her work on stage, innovative movement direction, and international experience, she is dedicated to creating transformative art that captivates audiences and fosters cultural enrichment.