Five Broadway reviews from my summer in New York City

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

My inner theater kid has never been happier than when I got to live in New York City this summer. Seeing plays and musicals was my favorite part of exploring the famed city, but not every show can receive a standing ovation. Let’s place a critical lens on five of the city’s productions this summer. 

“John Proctor is the Villain” — 10/10  

Not only was this my first show of my trip, it was also my favorite. A moving production that is more relevant than ever, “John Proctor is the Villain” took me by complete surprise as the most heartfelt portrayal of girlhood I’ve seen in any recent media. 

The play follows a group of teen girls in a tiny one-stoplight town in Georgia studying “The Crucible” by Arthur Miller and starting a feminism club in the wake of the #MeToo movement. The girls must reckon with the topics brought up in the class, such as sexual misconduct and female empowerment, in increasingly personal ways as they become acutely relevant in their everyday lives. 

In a refreshing departure from the trope of dismissing the concerns of young girls, the show gave teen girl characters the space they deserve: to be taken seriously, to belt Taylor Swift together, to make change and to laugh until laughter turns into tears. 

Best of all, none of these things had to be mutually exclusive. I’ve never been so emotionally invested in a performance. Despite my best efforts, I cried through the entire ending. I was a bit disappointed to miss Sadie Sink by two days, but her replacement, Chiara Aurelia, was incredible — as was the rest of the cast, who played their parts so beautifully and realistically I forgot I was watching a play at times. 

“Moulin Rouge” — 4/10 

It was my fault I didn’t know anything about the show before seeing it. I love pop music as much as the next person, and I prefer the radio to Broadway tunes. Because of how much I love the creativity of original music, I generally don’t like jukebox musicals. 

A more cohesive musical theme, like the Gogo’s music in “Head Over Heels,” makes the concept work slightly better. Unfortunately, trying to integrate “Royals” by Lorde and “Shine Bright Like a Diamond” by Rihanna into 19th-century France felt too on-the-nose for me to find funny. It takes the audience out of the story altogether, resulting in a musical that keeps fumbling the emotional beats. 

Despite my feelings about jukebox musicals, the sets — shining as brightly as Satine’s outfits — and the cast — starring Jordan Fisher — were highlights. Although the show was not my favorite, it was undeniably fun.  

“The Outsiders” — 8.5/10 

At first, I wasn’t sure how “The Outsiders” would translate into a musical, but I absolutely loved it. Set in Oklahoma, the story follows a teen gang called the Greasers at odds with Socs, a rival group. When the protagonist, Ponyboy, and his best friend get into a fight that ends in the death of a Soc, they must go into hiding while they and the other Greasers navigate these violent encounters and differences. 

The sets and choreography were stand-out elements, particularly the real rain falling during The Rumble, dirt on stage added to the story’s grittiness and the fight-dance sequences made the peril of Ponyboy’s tale come to life. 

I also enjoyed the way the lighting design complemented Ponyboy’s narration: the spotlight centering on each character as he described each of them was a beautiful use of the space. I appreciated the soundtrack as well, especially the songs that gave Darry more of a chance to tell his story than he had in the book. 

The integration of iconic quotes lent the play the gravitas of the original novel, but their choice to change Dally’s ending fell flat, making it feel less symbolic than the book. Overall, it was incredibly well-done, and I can only hope that my other favorites will be adapted like this! 

“Maybe Happy Ending” — 9/10  

This musical is set in a futuristic Seoul where human-like robots, HelperBots, are used for various tasks and then retired. It follows two obsolete HelperBots — Claire and Oliver — as they develop an unexpected connection. “Maybe Happy Ending” won six Tonys in 2025, including for Best Musical, and I can see why. The show brought new whimsy and depth to an age-old question and made me think about stories that revolve around technology in a completely refreshing way.  

The show purposefully operated on a smaller scale than others I attended: the 100-minute runtime was well-curated for the greatest emotional impact, the short soundtrack was fluid and intentional and the cast of only four further emphasized the protagonists’ relationship. 

The way the HelperBots spoke about humans was also funny and reflective. In one scene, Oliver asks Claire to come up with pretend “hopes and dreams,” to which she responds, “Do you really think a human will ask us about that?” Oliver says, “Of course. That’s all humans talk about.” 

Interactions like these, filled with so much heart, beautifully explored love, loss and, somewhat ironically, what it means to be human. By the end, there wasn’t a dry eye in the audience. 

“Call Me Izzy” — 7/10 

“Hacks,” a comedy following the partnership between a legendary stand-up comedian fading to irrelevance and a cancelled 25-year-old writer, is one of my all-time favorite TV shows, and it made me a huge fan of Jean Smart. When I heard she was starring in her own one-woman play, I couldn’t wait to watch. I’d never seen a one-woman show, unless you count the show within “La La Land,” so I was curious to see how it would stay engaging throughout its 85-minute runtime. While I felt the first half could’ve been a little faster paced considering the format, the second half in particular was absolutely incredible. 

The play follows Isabelle “Izzy” Scutley, a one-of-a-kind poet trying to write her way out of her relationship with an abusive husband and hometown in rural Louisiana. The narrative is profoundly sad but remains infused with Smart’s signature dry wit. Each scene is poignantly crafted, as Smart recounts memories so vividly you can see them happening. While I’m not sure I would see another one-woman show unless it was Jean Smart or another favorite actor again, I thoroughly enjoyed the emotional rollercoaster all the way through. 

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