All stories by Erin Kahn on BroadwayStars

Monday, June 5, 2023

Review: The Shylock and the Shakespeareans by Erin Kahn

Having seen (read “been positively blown away by”) several of Edward Einhorn’s previous shows produced through Untitled Theater Company No. 61, and being a long-time lover of Shakespe…

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Review: Days of Wine and Roses by Erin Kahn

Kelli O’Hara, as everyone knows, is a gift to the world of theatre. Her voice is otherworldly, her acting immaculate. Now, she can add to her resume the triumph of largely carrying Days of…

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Thursday, May 18, 2023

Review: storytime with What Will the Neighbors Say? by Erin Kahn

Ironically, though New York City is home to more than 8 million people, it’s been called “the lonely city,” and it’s easy to see why. You could easily pass hundreds of people on your…

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Tuesday, May 16, 2023

Review: College Fun by Erin Kahn

Shakespeare is canceled. Don’t ask why—he just is. It might have something to do with the tremors that keep jarring the college diversity office, or then again, it might not. We’ll nev…

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Wednesday, May 3, 2023

Review: We, Puppets by Erin Kahn

I’ve seen my fair share of plays about racism, but I’ve never seen the struggle between a facist government and its oppressed citizens dramatized as a puppet show. In We, Puppets, presen…

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Thursday, April 20, 2023

Review: One More Seat at the Round Table by Erin Kahn

In the 1967 film version of Camelot (a movie I adore), there comes a moment when Arthur senses that the presence of his illegitimate son, Mordred, together with the forbidden passion share…

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Wednesday, April 12, 2023

Review: Emilie: La Marquise du Châtelet Defends Her Life Tonight by Erin Kahn

Émilie du Châtelet was playing around with physics more than a century before Einstein entered the scene. Her analysis of force and velocity, which she articulated as F = mv², would pave …

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Thursday, April 6, 2023

Review: A Passion by Erin Kahn

Most people today (myself included) have an absence of ritual in their lives, and never is this more apparent than at this time of year–when Catholics worship in specifically orchestrated …

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Friday, March 31, 2023

Review: AAPI Heroes: Myths and Legends by Erin Kahn

Dance can be a powerful vehicle for storytelling, for expressing emotion, and for conveying truths that are sometimes difficult to articulate in words. If you need proof, go see J. Chen Proj…

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Monday, March 20, 2023

Review: ‘Cabaret in Captivity’ by Erin Kahn

What kind of person can laugh amid the jaws of hell? One who knows his survival depends on it. In Cabaret in Captivity, we become those imprisoned in the Terezin Camp as, in commemoration—…

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Review: ‘The Black That I Am’ by Erin Kahn

Identity is a tricky, complicated thing. That was the main idea I pondered as I left the theatre after Karl O’Brian Williams’ The Black That I Am: a pastiche of monologues, scenes, and m…

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Friday, March 3, 2023

Review: She’s Got Harlem on Her Mind by Erin Kahn

Though it seemed a little counterintuitive to leave my Harlem apartment and trek down to the Lower East Side to watch a play about Harlem, I’m glad I did. In She’s Got Harlem on Her Mind…

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Wednesday, February 22, 2023

Review: Untitled Calamity Jane Play by Erin Kahn

“You have no control who lives, who dies, who tells your story.” If Calamity Jane was a character in Hamilton, I have to think she’d agree with General Washington—probably very vocal…

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Thursday, December 15, 2022

Review: Eddie Izzard in ‘Charles Dickens’ Great Expectations’ by Erin Kahn

‘Tis the season for one-person Dickens shows. While Jefferson Mays performs a one-man version of A Christmas Carol on Broadway, Eddie Izzard is performing her solo version of Great Expecta…

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Monday, December 12, 2022

Interview: Michael Urie by Erin Kahn

Michael Urie is always a delight to watch, so it should come as no surprise that he’s also a delight to talk to. While his most recent Broadway credit was the uproarious comedy Chicken &a…

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Friday, December 9, 2022

A Christmas Miracle: Megan Hilty and Neal McDonough share holiday traditions and the joy of performing with The Tabernacle Choir by Erin Kahn

It was the second week of October, and Mack Wilberg, Music Director of the world-renowned Tabernacle Choir at Temple Square, had just been given the green light to proceed with the annual Ch…

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Monday, December 5, 2022

Review: ‘The Far Country’ by Erin Kahn

  Between 1910 and 1940, San Francisco’s Angel Island processed somewhere around 250,000 Chinese immigrants. Often detained in a prison-like environment for weeks, months, or even years, …

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Monday, November 21, 2022

Review: A BKBX Frankenstein by Erin Kahn

It’s probably safe to say that mime theatre is an underappreciated art form. But if you want to see modern miming at its best, look no further than Broken Box Mime Theater. The company’s…

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Saturday, November 12, 2022

Review: The Haunting of 85 East 4th Street by Erin Kahn

Halloween may be over, but as long as Radiotheatre’s The Haunting of 85 East 4th Street is playing at The Kraine Theater, spooky season is emphatically not. Written by Dan Bianchi, this su…

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Thursday, November 10, 2022

Interview with Ray Mercer by Erin Kahn

On Sunday, The Lion King celebrates its 25th Broadway anniversary. That will also be a milestone for Ray Mercer, who’s been with the show for 20 years, making him one of the longest-runnin…

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Wednesday, November 2, 2022

Review: Where the Mountain Meets the Sea by Erin Kahn

Every now and then, between revivals, jukebox musicals, movie-based musicals, and productions hellbent on making a statement, you come across that increasingly rare thing in theatre: an orig…

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Monday, October 31, 2022

Review: Monstress by Erin Kahn

What–or should we say who–makes a monstress monstrous? This is the question raised by Hunger & Thirst Theatre’s bluegrass musical Monstress, written by Emily Kitchens with origina…

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Thursday, October 27, 2022

Review: FEARfest 2022 by Erin Kahn

Sometimes horror works best in short, self-contained stories. Such is the case with the New Ambassadors’ short horror-themed play festival, FEARfest 2022, at Tada! Theater. Seven short p…

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Monday, October 24, 2022

Review: HOUND DOG by Erin Kahn

When a young musician returns to Turkey to care for her troublesome father, she gets a lot more than she bargained for–and so does the audience. Produced by Ars Nova and PlayCo at Greenwic…

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Monday, October 17, 2022

Review: ‘Artemisia’s Intent’ by Erin Kahn

In The Anthropologists’ Artemisia’s Intent, written and directed by Melissa Moschitto, 17th-century Italian painter Artemisia, played by Mariah Freda, returns to share her insights and…

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Thursday, October 13, 2022

Interview: Martha Preve by Erin Kahn

In honor of Halloween and Dia de los Muertos, FRIGID New York and Something From Abroad present the first-ever Days of the Dead Festival. Running October 20 through November 1 at The Kraine …

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Wednesday, October 12, 2022

Review: ‘Bethune, Our Black Velvet Rose’ by Erin Kahn

Dr. Mary McLeod Bethune is one of those often overlooked women from America’s past whose story not only deserves, but needs to be told. At TheaterLab, a cast directed by Kathleen Brant tak…

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Monday, October 10, 2022

Interview: Rob Rokicki by Erin Kahn

Rob Rokicki’s Monstersongs is possibly the greatest (and definitely the funnest) Halloween album of all time. Released by Broadway Records back in 2017, the graphic novel rock album recent…

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Wednesday, October 5, 2022

Review: Complicity by Erin Kahn

When aspiring young actress Tig Kennedy is raped by her would-be producer, she faces a wrenching choice: expose the wrongdoing and turn her back on a promising career in Hollywood? Or brush …

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Saturday, October 1, 2022

Review: ‘Let Me Cook For You’ by Erin Kahn

Storytelling, on perhaps its most basic level, is a means of transmitting memories and messages from one generation to the next. As such, it becomes a sort of ritual. By sharing our stories …

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Tuesday, September 20, 2022

Review: David Greenspan performs ‘Four Saints in Three Acts’ by Erin Kahn

Gertrude Stein’s Four Saints in Three Acts is, to put it bluntly, nonsensical. An avant-garde opera with a libretto by Stein and a score by Virgil Thomson, it’s more word-driven than pl…

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