Things to do in New York this Saturday

Broadway review by Adam Feldman “Why do we learn language?” asks Marjan (Marjan Neshat) to the English class she teaches in Iran. There are practical reasons, to be sure; several of her students need to pass the standardized international Test of English as a Foreign Language (TOEFL) so they can travel abroad. But for Marjan, who once spent nine years living in the U.K., the answer goes deeper than that. We learn language, she says, "to speak our souls": “To speak. And to… [motions to her ear] listen. To the insides of others.” That’s the guiding philosophy of Sanaz Toossi’s ear-opening English, which premiered at the Atlantic in 2022. Now, having won the Pulitzer Prize for Drama, it has migrated to Broadway under the sponsorship of the Roundabout, with its identity entirely intact. Director Knud Adams and his original cast of five re-create the magic of the original production without a stammer, stumble or waver.  English | Photograph: Courtesy Joan Marcus If Toossi’s thoughtful and searching play has things to teach us—about character, culture, postcolonial identity—it does so through immersion. We first see Marjan’s classroom from the outside, through a window. But Marsha Ginsberg’s boxed set soon rotates to invite us inside; it keeps turning throughout the play to give us new angles, and Toossi does the same. Like any grammar, English has rules and structures that it carefully maintains, but enough exceptions and variations to provide character and texture. It unfolds...

Queens Botanical Garden has a beautiful light show you’ll want to see this year called “Luminosa: A Festival of Lights.” With over 1 million LED lights, this illuminated trail imitates a lush garden with giant lanterns—including 40 stunning lamp scenes crafted by 150 artisans using 120 tons of steel and 150,000 feet of silk—and brings it to life with acrobatic performers, stone-carving, an artisan market and ambient music.

Broadway review by Adam Feldman  Cole Escola’s Oh, Mary! is not just funny: It is dizzyingly, breathtakingly funny, the kind of funny that ambushes your body into uncontained laughter. Stage comedies have become an endangered species in recent decades, and when they do pop up they tend to be the kind of funny that evokes smirks, chuckles or wry smiles of recognition. Not so here: I can’t remember the last time I saw a play that made me laugh, helplessly and loudly, as much as Oh, Mary! did—and my reaction was shared by the rest of the audience, which burst into applause at the end of every scene. Fasten your seatbelts: This 80-minute show is a fast and wild joy ride. Escola has earned a cult reputation as a sly comedic genius in their dazzling solo performances (Help! I’m Stuck!) and on TV shows like At Home with Amy Sedaris, Difficult People and Search Party. But Oh, Mary!, their first full-length play, may surprise even longtime fans. In this hilariously anachronistic historical burlesque, Escola plays—who else?—Mary Todd Lincoln, in the weeks leading up to her husband’s assassination. Boozy, vicious and miserable, the unstable and outrageously contrary Mary is oblivious to the Civil War and hell-bent on achieving stardom as—what else?—a cabaret singer.      Oh, Mary! | Photograph: Courtesy Emilio Madrid  Described by the long-suffering President Lincoln as “my foul and hateful wife,” this virago makes her entrance snarling and hunched with fury, desperate to find a...

The playwright Jordan Harrison memorably peered into the possibilities of technology in the prescient A.I. drama Marjorie Prime, a finalist for the 2015 Pulitzer Prize. Now he ventures back to the future in a play that imagines how post-human cultures might look back on the way we live now. The world premiere at Playwrights Horizons—a coproduction with Chicago's Goodman Theatre—is co-directed by David Cromer and Caitlin Sullivan; the cast of nine is made up of Cindy Cheung, Marchánt Davis, Layan Elwazani, Andrew Garman, Aria Shahghasemi, Kristen Sieh, Ryan Spahn, Julius Rinzel and Amelia Workman.

Broadway review by Adam Feldman  How is she? Ever since May, when it was confirmed that Audra McDonald would star in the latest revival of Gypsy, Broadway fans have speculated about how Audra would be as Mama Rose—or, more nervously, whether Audra could be Mama Rose, the implacable stage mother who sacrifices everything to make her two daughters into stars, including those two daughters themselves. The casting seemed inevitable: the pinnacle role for a woman in musical theater, essayed by the most accomplished musical-theater actress of her generation. It’s Audra’s turn. Yet to some, the casting also seemed unlikely: Rose has traditionally been played by big belters, from Ethel Merman in 1959 through Patti LuPone in 2008, not dramatic sopranos like McDonald. So let’s get that question out of the way up front. How is Audra as Rose? She’s a revelation.  So, too, is the rest of George C. Wolfe’s deeply intelligent and beautifully mounted production, which comes as a happy surprise. Gypsy is a model musical in every regard, from Arthur Laurents’s airtight book, inspired by the memoirs of striptease queen Gypsy Rose Lee, to Jule Styne’s thrilling music, which grabs you at the overture and doesn’t let go, to Stephen Sondheim’s dazzlingly witty and insightful lyrics. But this is the show’s fifth Broadway revival, and its third in the 21st century alone. One might reasonably wonder what is left to reveal in a show as well-known as this one. But like the monster some people believe...

Having put The Nutcracker to bed for another year, NYCB returns to Lincoln Center for six more weeks. Principal among the offerings are the world premieres of resident choreographer Justin Peck's Mystic Familiar, set to a commissioned score by Dan Deacon, and artist in residence Alexei Ratmansky's suite of dances from Paquita. Other attractions include a centennial salute to ballerina Maria Tallchief and the return of Christopher Wheeldon's Carnival of Animals, narrated by John Lithgow; the engagement concludes with a two-week run of Peter Martins's full-length version of the Tchaikovsky classic Swan Lake (February 19–Mar 2). Also on the lineup are multiple pieces by Wheeldon and City Ballet's legendary founding choreographers, George Balanchine and Jerome Robbins. The troupe's current constellation of étoiles includes Ashley Bouder—who bids farewell to the company on February 13, after 25 years, in Balanchine's Firebird—alongside Tyler Angle, Chun Wai Chan, Adrian Danchig-Waring, Megan Fairchild, Jovani Furlan, Emilie Gerrity, Joseph Gordon, Anthony Huxley, Isabella LaFreniere, Sara Mearns, Roman Mejia, Mira Nadon, Tiler Peck, Unity Phelan, Taylor Stanley, Daniel Ulbricht, Andrew Veyette, Emma Von Enck, Peter Walker and Indiana Woodward. Visit the City Ballet website for a full schedule of events. Ashley Bouder in Firebird | Photograph: Courtesy Erin Baiano

Broadway review by Adam Feldman  Oliver (Darren Criss) is a Helperbot, and he can’t help himself. A shut-in at his residence for retired androids in a near-future Korea, he functions in a chipper loop of programmatic behavior; every day, he brushes his teeth and eyes, tends to his plant and listens to the retro jazz favored by his former owner, James (Marcus Choi), who he is confident will someday arrive to take him back. More than a decade goes by before his solitary routine is disrupted by Claire (Helen J Shen), a fellow Helperbot from across the hall, who is looking to literally connect and recharge. Will these two droids somehow make a Seoul connection? Can they feel their hearts beep? That is the premise of Will Aronson and Hue Park’s new musical Maybe Happy Ending, and it’s a risky one. The notion of robots discovering love—in a world where nothing lasts forever, including their own obsolescent technologies—could easily fall into preciousness or tweedom. Instead, it is utterly enchanting. As staged by Michael Arden (Parade), Maybe Happy Ending is an adorable and bittersweet exploration of what it is to be human, cleverly channeled through characters who are only just learning what that entails. Maybe Happy Ending | Photograph: Courtesy Evan Zimmerman In a Broadway landscape dominated by loud adaptations of pre-existing IP, Maybe Happy Ending stands out for both its intimacy and its originality. Arden and his actors approach the material with a delicate touch; they...

Hundreds of items have been pulled from the New York Public Library's expansive and centuries-spanning archive to be put on display—many of them for the first time—in a permanent exhibition called "The Polonsky Exhibition of The New York Public Library’s Treasures." Inside the NYPL's Stephen A. Schwarzman Building and its beautiful Gottesman Hall, are more than 250 unique and rare items culled from its research centers: the Stephen A. Schwarzman Building, the Library for the Performing Arts and the Schomburg Center for Research in Black Culture. The exhibit, which opens to the public on Friday, September 24, spans 4,000 years of history and includes a wide range of history-making pieces, including the only surviving letter from Christoper Columbus announcing his "discovery" of the Americas to King Ferdinand’s court and the first Gutenberg Bible brought over to the Americas. We visited the stunning collection this week to find the top 10 must-see items at the NYPL Treasures exhibit so when you go, you can make sure to see them for yourself: 1. Thomas Jefferson’s handwritten copy of the Declaration of Independence Photograph: Max Touhey / NYPL Only six manuscript versions of the Declaration of Independence are known to survive in the hand of Thomas Jefferson. Jefferson made this copy for a friend shortly after the July 4th, 1776, ratification of the Declaration, which announced to the world the American colonies’ political separation from Great Britain. He underlined...

Broadway review by Adam Feldman  In the 1950 film masterpiece Sunset Boulevard, Hollywood glamour is a dead-end street. Stalled there with no one coming to find her—except perhaps to use her car—is Norma Desmond: a former silent-screen goddess who is now all but forgotten. Secluded and deluded, she haunts her own house and plots her grand return to the pictures; blinded by the spotlight in her mind, she is unaware that what she imagines to be a hungry audience out there in the dark is really just the dark.  One of the ironies built into Billy Wilder’s film, which he co-wrote with Charles Brackett, is that there really was an audience in the dark watching Norma: the audience of Sunset Boulevard itself, whom Norma is effectively addressing directly in her operatic final mad scene. That slippage between the real and the imaginary is even more pronounced in Andrew Lloyd Webber’s 1993 musical adaptation of the story, by dint of its being performed live onstage. And Jamie Lloyd’s very meta and very smart Broadway revival of the show—which stars the utterly captivating Nicole Scherzinger as Norma and Tom Francis as Joe Gillis, the handsome sell-out screenwriter drawn into her web—pushes it even further through the prominent use of live video. The tension between the real and the imaginary is expanded to include a mediating element: the filmic, whose form can range from documentary to dreamscape.  Thus described, Lloyd’s approach may sound academic—but in practice, it is often...

Broadway review by Adam Feldman  Romantic comedies, once a Broadway staple, have lately been in short supply. To some extent, All In fills that vacuum. The show is not a comedy per se, but an anthology of comedy writing: short humor pieces by Simon Rich, performed script-in-hand by a rotating cast of actors. And while all of these pieces touch on awkward modern love in some way, that love is not always romantic; it can also be parental or familial or universal. But although the stories tend to resolve on awww-inspiring notes, All In is first and foremost funny—often very, very funny.   All In: Comedy About Love | Photograph: Courtesy Emilio Madrid Director Alex Timbers gives All In the air of a live reading of The New Yorker, where much of Rich’s text first appeared: Set designer David Korins evokes a high-toned literary-bohemian atmosphere that is offset by Emily Flake’s adorable illustrations, projected on exposed brick. If you read The New Yorker regularly, you may remember some of the works collected here; Rich’s writing is memorably sharp and well-crafted. But their comic surprises are refreshed in performance. Three of the pieces are delivered to wryly emphatic perfection, in the production’s opening cast, by the charming stand-up star John Mulaney: “Guy Walks Into a Bar,” which expands hilariously on a hoary joke about a half-deaf genie; “Learning the Ropes,” a tale of pirates on an unexpected adventure; and “The Big Nap,” in which a toddler affects the hardboiled...