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
Labor
Stacey Linnartz's tour-de-force performance is a masterclass for anyone wanting to do solo work. The vignettes perfectly illustrated each point she was looking to make at the same time showing off her tremendous skill as a performer in Labor, as part of the NYC Frigid Festival. Check out our review by Nicole Jesson.
Buen Camino: My Walk through 540-Miles of Rain, Resentment, and Redemption
Susan Edsall has taken on so much in this solo show much like the trek she undertook in real life. It is a fascinating story of how life changes in an instant, and the need to keep moving forward. The soul of Buen Camino is a beautiful story. Check out our review written by Nicole Jesson.
Talking with Angels: Budapest 1943
Shelly Mitchell has been performing this role since September 19, 2001. She’s is a master of her craft in Talking with Angels: Budapest 1943. Check out our review written by Nicole Jesson.
The Big Secret
To be a voice for the voiceless is a responsibility few are boldly willing to take. Writer and performer Brad Lawrence does just that. In his witty, hyper-focused and candid way, Lawrence keeps you laughing, smiling, engaged and always contemplative in his show, The Big Secret, on the Under St. Marks stage.
MAIDEN MOTHER CRONE
It’s work at this level that inspires others to create. And should definitely inspire folks to get to The Flea to see these while they can! Check out our review of Maiden Mother Crone, written by Nicoel Jesson.
B*tchcraft
Part performance art, part concert, part play, B*tchcraft takes the audience on a visceral journey. Bitch shares her story of growing up as a quiet girl in an abusive household, breaking free to become an artist who unapologetically claims her queer, feminist, and creative identity. B*tchcraft is nothing short of empowering.
RILKE, ONE MILLION WORDs
“I caught my breath as I stepped into the drawing room - the playing space - littered with a million letters, a desk, two chairs, and a pair of red shoes. I settled onto a red velvet couch, cozy and curious. The space was intimate, the atmosphere immersive. What would the next 60 minutes hold for me? Rainer Maria Rilke, Franz Xaver Kappus, Ivo Muller, and the yearning for quiet in a chaotic world,” says our reviewer Malini.
Jason, Medea and the Tragedy at the PS19 Talent Show
Medea is a loving wife and mother whose husband decides to replace her. Hell hath no fury like a woman scorned starts with her. But have we suffered by only seeing the play from Medea’s perspective? Is Medea a victim or a monster? Blane’s retelling of Euripides’ Medea plays out at UNDER St. Mark's. Here’s our review written by Nicole Jesson.
How To Eat an Orange
How To Eat an Orange by Catherine Filloux is an intimate, soaring one-woman show that showcases an entirely different perspective of those who endured the military junta in Buenos Aires. So many disappeared - but who is there when their bodies reappear? We found out at The Downstairs at LaMama. Check out our review written by Niranjani Reddi.
Whore’s Eye View
Was this show “infotaiment”? Or perhaps the show was more reminiscent of the later satirical monologues of the late, great George Carlin. But this wasn’t satire. This was a spoonful of sugar to help the medicine go down. Check out our review of Whore’s Eye View written by Nicole Jesson.
Longing Lasts Longer
“A night with Ms. Arcade will encourage you to disengage from the hive mind, to step back and (wait for it) . . . think.” As Nicole Jesson describes Penny Arcade’s one-woman-show at the White Horse Theatre Company in 2023, Longing Lasts Longer makes us question our past, and live in the present. Check out the review!
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.
