David Szalay on Flesh, the Booker Prize, and Writing at the 92nd Street Y
Winning the Booker Prize sounds glamorous. According to David Szalay, it’s mostly unbearable. In a packed room at the 92nd Street Y, he spoke with Sam Lipsyte about Flesh, the tension between desire and disgust, and why he refuses to let his protagonist explain himself.
An Interview With LuLu Braunstein and Lisa Anne Morrison of The Menopause Monologues
Menopause Monologues takes on a subject long ignored, blending humor, frustration, and real experience to expose just how much women are still not told about their own bodies.
Three Very Different Shows, One Very Fringe Experience
A dramedy about friendship and longing, a scrappy cultural sketch show, and a heartfelt solo musical. Three Fringe picks, three completely different outcomes, and a reminder that the risk is the point.
Schmigadoon! Finds Its Sweet Spot on Broadway
What plays like a repetitive gag on screen comes alive onstage. Schmigadoon! trades small-screen irony for full-scale theatrical joy, landing as a sharp, affectionate parody that actually works better live.
REVIEW of Becco: A Little Tight, A Lot of Pasta
At Becco, the pasta keeps coming, the tables keep closing in, and somehow it all works. A pre-theater staple where unlimited pasta meets a dining room full of strangers who may or may not become part of your night.
SUbway Take
A subway card gets a full-blown funeral, complete with eulogies, processions, and “swipe swipe” chants, but beneath the spectacle is something real: the slow death of a New York icon. From its chaotic 90s debut to its final days in a contactless world, the MetroCard wasn’t just a way to get around, it was a personality, a ritual, a piece of the city’s pulse.
Meth, Memory, and a Cowboy Hat at Soho Playhouse
A one-man show that starts in a Texas meth lab and ends somewhere stranger, Lost in Del Valle is a gritty, funny, and unexpectedly moving memoir of a life that veered wildly off course and somehow made it back.
Steel and Silence at the Guggenheim
A Guggenheim opening promises access, play, and connection. Outside, protesting workers tell a different story. Inside, Carol Bove’s steel-heavy survey strains under repetition, leaving the museum’s message of openness feeling more performative than real.
At The Surrealist Ball, New York Got Weird Again. Thank God.
At The Surrealist Winter Ball, New York remembered how to be strange in public. Between mimes, corpse poetry, surrealist costumes, and performances that blurred the line between art and spectacle, the night felt less like a party and more like a collective decision to stop being embarrassed about wanting to be all in.
The Party Ends. Then What?
A deeply immersive novel about NYC in your 20s and the quiet, disorienting shift into adulthood. So Old, So Young captures the friendships, choices, and creeping realization that life does not unfold the same way for everyone, and that you may not even notice it happening.
Nicole Travolta Is Doing Meh.
A one-woman show about shopping addiction and spiraling debt promises a redemption arc but delivers uneven pacing, forgotten lines, and a performance that never quite finds its footing. A few celebrity impressions land, but they’re not enough to save a production that feels more forced than fully realized.
Frigid Fringe Dispatch: Book Club Drama and a Very Bad Good Deed
At the Frigid New York Fringe Festival, one play turns a wine-soaked girls’ night into simmering chaos, while another follows a single good deed that spirals wildly out of control. Two very different shows, one shared strength: raw, unpredictable storytelling that reminds you why Fringe still matters.
This Anti-War Play Feels Way Too Familiar Right Now
A revival of Spider Rabbit at La MaMa turns a playful, childlike rhythm into something far more unsettling, tracing how violence is absorbed, normalized, and made into something you can live with.