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6 Shows Our Theater Critics Are Talking About
Rose Byrne in “Fallen Angels,” a couple trapped in the musical village of “Schmigadoon!” and “The Rocky Horror Show” at Studio 54: These productions are worth seeing.
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Rose Byrne and Kelli O’Hara in “Fallen Angels” at the Todd Haimes Theater in Manhattan.
Credit...
Sara Krulwich/The New York Times
By
Charlotte Dulany
April 24, 2026,
4:36 p.m. ET
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CRITIC’S PICK
Heavenly lust
‘Fallen Angels’
Rose Byrne and Kelli O’Hara go quip for quip with abandon in this amusing rendition of Noël Coward’s 1925 comedy, directed by Scott Ellis. When, in London, two proper ladies receive letters announcing the arrival of a Frenchman (Mark Consuelos) with whom they were both entangled before their marriages, they hopelessly lose themselves to fantasy and temporarily escape the banalities of their upper-crust lives. For as pristine as they appear, the women are garish in their lust, merrily downing martinis and contemplating adultery.
From Jason Zinoman’s review:
The dynamite performances of Byrne and O’Hara are the main event. Comedically, they’re intrepid, landing every joke, but also unearthing many new ones between lines. They play off each other with superb chemistry and deliver bon mots with the same snap. Their sly insults (“I should be following her around and picking up all the names she dropped”) come at you quickly, spoken with a rat-a-tat pace.
Through June 7 at the Todd Haimes Theater, Manhattan.
Read the full review
.
CRITIC’S PICK
Golden Age nostalgia
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Sara Chase, standing center, and Alex Brightman, seated center, in “Schmigadoon” at the Nederlander Theater in Manhattan.
Credit...
Sara Krulwich/The New York Times
‘
Schmigadoon!
’
In a strange village where bonhomous villagers spontaneously burst into song, you either love it or you hate it. Opposing views aren’t new to Josh Skinner (Alex Brightman) and Melissa Gimble (Sara Chase), a couple in a tumultuous period in their relationship when, stumbling off a backpacking route, they find themselves trapped in ye ol’ melodic town. Adapted from an Apple TV+ series, Cinco Paul’s parody pastiche is a mishmash of irreverence and adoration for classic Broadway musicals, notably “Oklahoma!,” “Carousel” and “The Sound of Music.”
From Elisabeth Vincentelli’s review:
Under the high-energy direction of
Christopher Gattelli,
the two visitors meet, in quick succession, everybody who matters, including a couple of lusty temptations. As Betsy McDonough, a flirtatious farmer’s daughter clearly inspired by Ado Annie from “Oklahoma!,” McKenzie Kurtz (already a standout in
“The Heart of Rock and Roll”
two seasons ago) gives us a comic creation for the ages.
Through Sept. 6 at the Nederlander Theater, Manhattan.
Read the full review
.
CRITIC’S PICK
Small town antics
Image
From left, Kayli Carter, Jeena Yi and Margaret Colin in “The Balusters” at the Friedman Theater in Manhattan.
Credit...
Sara Krulwich/The New York Times
‘The Balusters’
In a wealthy homeowners association, scandal takes the shape of a stop sign. No issue is too small for the association’s upper-middle-class board members, so when a newcomer suggests adding the traffic sign to the neighborhood, raucous uproar arises. But fixated on the minor issues at hand, the members tend to miss the complexities that face them. Marylouise Burke, Kayli Carter and Ricardo Chavira star. Directed by Kenny Leon and written by David Lindsay-Abaire, this comedy is ripe with diverse personalities, minutiae and laugh-out-loud moments.
From Helen Shaw’s review:
Lindsay-Abaire is making fun of our eagerness to leap to judgment while also, by writing this play, multiplying our opportunities to do so. I tutted under my breath, for instance, at how easily people laughed at the censorious millennial Willow — a wan joke about nonbinary voting received roars of approbation — while totally failing to notice anything weird about those moments that tickled my own fancy. Lindsay-Abaire had just offered me a slippery, sensitive, clever play about how we reveal ourselves by what we choose to bristle over and what we find funny.
Through May 24 at the Friedman Theater, Manhattan.
Read the full review
.
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