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Theatr's Newsletter · Apr 28, 2026

Theatr Insiders | Brought to You by "Eat the Patriarchy"

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👋 Hello and welcome back!

This week’s newsletter is brought to you by Eat the Patriarchy at The Bechdel Project.

Eat The Patriarchy is back for another year of unfiltered feminist joy baby!

For one night, we invite you to step into an immersive evening of art, ritual, and collective imagination designed to engage you as both witness and participant.

  • Live performances from boundary-pushing artists

  • Tarot readings to spark reflection and possibility

  • Postcard writing to change-makers

  • A self-portrait studio exploring identity and self-authorship

  • A collective art-making experience & ritual

  • DJ & Dance party to close the evening

Your all inclusive ticket includes:

  • Unlimited themed finger foods

  • Unlimited signature cocktails, zero-proof elixirs, and other beverages

  • Full access to all performances and participatory experiences

Location: Bechdel Project 252 Green St. #3 Brooklyn, NY 11222 (Venue is not ADA accessible)

Date: May 2, 2026

Time: 8pm-midnight

  • Awards season is upon us once more! Check out the 2026 Drama League and Outer Critics Circle nominations and stay tuned for more awards season updates.

  • Sam Gold will direct a revival of Cat on a Hot Tin Roof on Broadway in Spring 2027. Read more.

  • Roundabout has announced their entire 2026-27 season, including The Full Monty, The Imaginary Invalid, and more. Read more.

Set Notify to receive alerts when tickets are posted on Theatr within your price range.

This week we’re bringing you reviews of Broadway and Off Broadway shows, Rheology, The Receptionist, What Happened Was…, Becky Shaw, Kenrex, Schmigadoon, and The Lost Boys.

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📍Playwrights Horizons
👍 Recommended by Sarah

@sarahjaeleiber | playwright and critic and theatr insider! ask me about my ideas for the next revival of bye bye birdie

Rheology is one of the most beautiful plays I have ever seen, weird and wonderful as it oscillates between the joy of connection and the pain of loss. Bulbul Chakraborty is an incredible actor precisely because she doesn’t see herself as an actor. She and her son, director/playwright/actor Shayok Misha Showdhury, are smart to open the show with a physics lecture from Chakraborty that shows us just how warm, funny, and alive the mother is before we deconstruct and collectively feel the tragedy of her impending death. Her physicist esoteria is so beautifully concrete, and Showdhury’s theatremaker lingo is so meandering. He’s the one who will lose her, after all, and he’s had significantly less time than she has to come to terms with her mortality. As the theorist, Chakraborty gives us concrete data; as the experimentalist, Showdhury shows us every angle he can think of to disrupt that data. The play’s exploration of just where a mother ends and her son begins allows for the most gorgeous of onstage revelations about grief, life, death, and where we go when we’re not here anymore. Read more

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📍The Pershing Square Signature Center
👍 Recommended by Brandon

@brandongarciaw | A theatre journalist with a focus in Broadway and Off-Broadway.

The Receptionist is easily one of the best plays produced in NYC this year. A hilarious look at office culture with a dark twist, the play will stick with you long after the curtain falls. Brilliant playwright, Adam Bock has crafted a nuanced piece that is consistently funny with a message that could not be more relevant to our world today. Director Sarah Benson’s simple staging captures bureaucracy perfectly. It is sure to resonant with anyone who has worked in an office. With that said, the world she has created onstage goes far beyond a simple workplace comedy and will send a shiver down your spine. Two-time Tony Award winner Katie Finneran is at the top of her game delivering consistent belly laughs as office manager, Beverly Wilkins. Every move she makes, every line delivered is done with such finesse, even a simple action like answering the phone sends audiences into a fit of laughter. At the same time, the sincerity Finneran brings to Beverly makes the overall message of the show hit that much harder. Her performance is not to be missed. I don’t want to say too much about this production as to not give anything away, but it’s rare to find a show that works so well at every level. Do yourself a favor and go see this incredible play before it closes on May 24. Maybe I’ll see you there, as I’m already planning a trip back to see it again. Read more

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📍Minetta Lane Theatre
😐 Mixed Feelings from Aj

@ashowgoer | I’m a longtime arts manager with degrees in directing and producing who has worked with a variety of theatrical and cinematic organizations.

An intensely awkward first date rom-com about two down-on-their-luck schmoes that’s unlike anything you’ve seen before. Strong is especially terrific, creating an incredibly complex character. (Stoll is good, too, but feels slightly miscast.) This play isn’t for everyone. I didn’t love it, but found a lot of value and resonance in it and think it generated a lot of interesting post-show discussion. My partner, on the other hand, hated it to no end. But, I think that’s part of the play’s point — it’s supposed to make you feel as uncomfortable and as awkward as its two characters. Read more

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📍Hayes Theatre
👍 Recommended by Leah

@leahmoschella | Full-time education policy consultant to enable my travel, theater, cocktails, and women’s sports loves.

It took me a while to really understand the title of this one. Is Becky Shaw just the catalyst bomb dropped into everyone’s lives to expose the chaos underneath, rather than the more normalized chaos we all adapt to every day? This 2.5 hours of dysfunction, though, is easy to watch: funny, sharp, and just uncomfortable enough in the best way. More than once, I found myself wondering, did he really just say that, or did I just want him to? The power of this show really comes in the first 45 minutes, where Lauren Patten and Alden Ehrenreich play off each other like absolute pros. Their banter is perfection and had me in real fits of laughter. Not a single character is especially likable, and the ending doesn’t neatly wrap anything up, but the ensemble’s timing and the pure brilliance of the script make Becky Shaw not just entertaining, but memorable. It’s the kind of play I’d want to read afterward and talk about over drinks — and the kind of characters that, while mostly playing total jerks, I still would want to share a bottle of wine with. Read more

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📍Lucille Lortel Theatre
😐 Mixed Feelings from Aj

@ashowgoer | I’m a longtime arts manager with degrees in directing and producing who has worked with a variety of theatrical and cinematic organizations.

This feels like a Fringe Festival performance of a true crime podcast. The story is relatively compelling (though somewhat well known), but there’s a whole lot of exposition that leads to the piece being overly long. (It can certainly be trimmed.) The lead actor is dynamic, but it doesn’t feel like an award-winning, nuanced performance (I realize he won an Olivier). The lighting and music / sound design are well done and do a great job heightening the tension, but I still didn’t find the show overly memorable, and I wouldn’t tell people to go out of their way to see this. Read more

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📍Nederlander Theatre
😐 Mixed Feelings from Brandon

@brandongarciaw | A theatre journalist with a focus in Broadway and Off-Broadway.

The concept of Schmigadoon! really excited me. It’s not every day there is a new Broadway musical with so many triple threats and brilliant comedians in the cast. It’s even rarer to find a new musical that aims to pay homage to the shows that came before it. All of that should have been an easy recipe for success. Sadly, none of it was not enough to save a musical that is ultimately dull and forgettable. Most of the comedy in Schmigadoon! revolves around the fact that golden age musicals are all wildly sexist and homophobic. Though the book by Cinco Paul is clever enough, the repetitive punch lines get old quickly. Similarly, the music and lyrics also by Paul feel tired. I enjoyed the satire, but once you know what song they are parodying, it’s easy to zone out as the music adds little to the story. The melodies and lyrics are overly simplistic for the sake of laughs, but it is not enough to sustain a two and half hour musical. Instead, Schmigadoon! feels like an underdeveloped SNL sketch that is far too long. I appreciate all the musical theatre history that is incorporated into this production. There is something to be said about paying tribute to the musicals of the past. I simply wish the biggest takeaway was more than just a reminder of how slow and problematic golden age musicals used to be (and often still are.) Read more

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📍Palace Theatre
😐 Mixed Feelings from Aj

@ashowgoer | I’m a longtime arts manager with degrees in directing and producing who has worked with a variety of theatrical and cinematic organizations.

I thought this was very okay. It’s a good musical to take teens to if they’ve already seen & Juliet and The Outsiders and need something new. There are a few flashes of brilliance (mainly credit to the director), some tremendous vocals, and killer scenic and lighting design, but it doesn’t add up to much. There are way too many songs in act one. Act two is kind of boring and ends with a whimper. There are a few great numbers in an otherwise generic pop score. The book has iffy dialogue that unfortunately isn’t rendered any better by the cast. The scene stealer is the lead vampire (Ali Louis Bourzgui), who was phenomenal in The Who’s Tommy and is delivering another killer performance here. Unfortunately, he doesn’t get enough stage time. Most vampire content should make you want to be a vampire after (they’re so cool!), but this was too bland to generate that feeling. Read more

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