The world is ending. Manhattan is getting hotter by the day, humanity apparently has only months left, and Charlie has decided that the most reasonable response is to stay on her couch with peanut butter, doomsday television and her Jewish goldfish.

Welcome to Nick Blaemire’s Soon, the devastatingly honest indie-pop chamber musical that opened last night at The Loft at St. Luke’s. Presented by Out of the Box Theatrics in association with Bella Vita Entertainment and Red Horse LLC, Soon begins with an almost deliciously eccentric premise. If the world is going to end anyway, why bother getting off the couch?

Charlie (Ava Delaney) has essentially shut out Manhattan along with everything else. The temperature outside keeps climbing, the television keeps delivering increasingly dire news, and Charlie remains planted in her apartment, eating peanut butter, waiting out whatever time humanity has left. Delaney makes her funny, maddening, vulnerable and deeply human. She never plays Charlie as simply another quirky musical-theatre heroine, and that distinction becomes increasingly important as the evening unfolds.

Sean Frank’s hyper-realistic scenic design makes Charlie and Steven’s apartment feel less like a set than a place they have actually been living in for years. Old theatre tickets, board games, journals and the accumulated debris of everyday life fill the room, creating the kind of intimate detail that makes us feel almost intrusive watching them. More importantly, the apartment becomes Charlie’s entire universe, effectively isolating us inside it with her. Paige Seber’s lighting design beautifully tracks the shifting emotional temperature of the piece, moving between the familiar warmth of home and the increasingly unsettling world pressing in from outside. Together, Frank and Seber make the apartment feel simultaneously like a refuge and a place from which Charlie desperately needs to escape.

Ava Delaney and Oliver Richman photo by Valerie Terranova

Then the groceries arrive. Jonah, played by the puppy-eyed and utterly lovable Oliver Richman, is the delivery man who begins nudging Charlie toward the terrifying possibility that there may still be something worth getting off the couch for. Richman has an openness that makes Jonah almost impossible not to fall in love with. He doesn’t come crashing into Charlie’s life as some great romantic rescuer. He simply shows up. Then keeps showing up, with a gentleness that slowly begins making Charlie’s carefully constructed little world harder to maintain.

Mike Millan, Ava Delaney photo by Valerie Terranova

The people already in Charlie’s life aren’t quite ready to surrender her either. Mike Millan is hysterical as Steven, her roommate, and seriously seems like the best roommate in the world. His comic timing is impeccable, but what makes Steven work is the affection underneath it. Millan never loses sight of how much this man cares about Charlie, even when she is making it nearly impossible for anyone to reach her.

Ava Delaney and Mylinda Hull photo by Valerie Terranova

Then there is Mylinda Hull, who nearly steals the night as Charlie’s mother, Adrienne. A boozy lounge lizard of a woman, Adrienne seems considerably more comfortable finding consolation at the bottom of a pitcher than offering it to her daughter. Hull is enormously funny, but there is something wounded underneath the alcohol and bravado. She knows precisely how far to push the comedy before allowing us to glimpse the woman hiding behind it.

This is where Soon begins doing something rather extraordinary.

What initially feels like a wonderfully offbeat musical about a young woman hiding from an approaching apocalypse slowly deepens without announcing that it is doing so. Blaemire allows us to laugh. He allows us to become comfortable with Charlie’s peculiar little existence. We become accustomed to the couch, the peanut butter, the fish, the increasingly unbearable heat and the parade of people trying to get Charlie to participate in life. Then the emotional ground begins to move.

Ava Delaney and Oliver Richman photo by Valerie Terranova

I am deliberately going no further. Soon contains discoveries that deserve to happen in the theatre, not in a review. What I can say is that Blaemire has constructed the piece so carefully that things we have already seen begin acquiring different weight. What seemed funny becomes painful. What seemed eccentric becomes understandable. By the time we realize how deeply we have been drawn into Charlie’s world, these characters no longer feel like people we met at the theatre. They feel like people we know.

Will Blum directs with a wonderfully sure hand. He understands that this small musical doesn’t need to be pushed. Its emotional strings are played like a Stradivarius: carefully, precisely and without unnecessary force. He allows the revelations to land rather than announcing them, and in the intimacy of The Loft, that restraint becomes enormously powerful. There is nowhere for these actors to hide, and eventually nowhere for us to hide from them.

Then there is Blaemire’s score, which may be one of the most exciting things about the evening. This is indie-pop musical theatre that doesn’t sound as though someone sat down and decided musical theatre needed to sound like indie pop. The musical language belongs naturally to these characters and to this story. Blaemire’s score can be witty, strange, tender and heartbreaking, sometimes within the same stretch of music.

“Bar Mitzvah for the First Jewish Fish” is as wonderfully peculiar as its title suggests, while “Waiting” is one of those songs I wanted to hear again almost immediately. Thankfully, I don’t have to wait very long. The Soon album has already been released. It arrived August 14, 2026, after being recorded at Hit Factory. This is a score I want to spend considerably more time with. More importantly, it feels like a glimpse of where musical theatre is going—less concerned with sounding like what a musical is supposed to sound like and more interested in allowing contemporary music and theatrical storytelling to become the same language. It is exciting.

Musical supervisor Wiley Deweese and music director and pianist Andy Collopy keep the evening tight and beautifully melodic, with Kevin Wunderlich and Nyssa Grant completing the three-piece band. In a room this intimate, musicians can easily overwhelm performers. Here they never do. The music surrounds the actors without swallowing them, allowing Blaemire’s lyrics and the emotional intricacies of the performances to remain front and center.

What makes Soon linger, though, isn’t its clever apocalyptic premise. It is how completely Blaemire makes us care about four people inside one apartment while the rest of the world is supposedly falling apart. The apocalypse gives the musical a clock. It reminds everyone that time is running out. But haven’t we always known that? We simply behave as though we don’t.

That is the uncomfortable beauty sitting underneath Soon. We postpone conversations. We protect ourselves from people who might matter too much. We wait until we’re thinner, richer, braver, happier or somehow more prepared before allowing ourselves to participate fully in our own lives. We assume there will be another day to say what needs saying, another opportunity to open the door. Soon quietly asks what happens when there isn’t.

Soon plays at The Loft at St. Luke’s, 308 West 46th Street, Third Floor, through November 8. Its entire run is currently sold out, but keep an eye out for last-minute ticket releases. If one appears, grab it.

I won’t tell you what happens behind Charlie’s closed door. I will only tell you that when Soon finally opens it, it is heartbreaking in the best possible way.

It was a magical night in New York when two extraordinary artists shared the stage at the Rose Theater at Jazz at Lincoln Center, one of the most beautiful theaters in New York City. This elegant jewel-box venue provided the perfect setting for an evening filled with energy, soul, and unforgettable music. Catherine Russell and her special guest, Cyndi Lauper, brought together two very different musical worlds, creating a concert that was thrilling from beginning to end.

Catherine Russell is jazz royalty. Music is in her blood. Her father, Luis Russell, was the longtime musical director for Louis Armstrong, while her mother, Carline Ray, was a pioneering multi-instrumentalist and vocalist. With such a rich musical heritage, Russell has developed a distinctive style that combines jazz, blues, swing, and the great American songbook.

Russell began recording and touring as a backup singer for major artists in 1980. In 2005, she launched her solo career and has since released nine albums. Two of her projects, Harlem on My Mind and Alone Together, earned Grammy nominations for Best Jazz Vocal Album. Beyond performing and recording, Russell is also dedicated to education, teaching master classes and private students and sharing her knowledge with the next generation of musicians.

One of the pleasures of Russell’s performance was the way she reached back through musical history. Her repertoire traveled from the 1920s through the 1950s, introducing the audience to songs that have become important pieces of the American musical heritage. She brought these vintage selections to life with her distinctive voice, impeccable phrasing, and deep understanding of the music.

Among the highlights was “Nobody’s Fault But Mine,” a 1927 gem associated with the legendary blues musician Blind Willie Johnson. Russell also performed “After Hours,” made famous by Sarah Vaughan, “Don’t Take All Night,” associated with Nina Simone, and “Trust in Me,” a song famously recorded by Dinah Washington. Each selection demonstrated Russell’s remarkable ability to honor the original artists while making the songs unmistakably her own.

Joining Russell for this special evening was the legendary Cyndi Lauper. A groundbreaking Grammy, Emmy, and Tony Award-winning songwriter and performing artist, Lauper has sold more than 50 million records worldwide. In 2013, she became the first solo woman to win the Tony Award for Best Original Score for Kinky Boots. She was inducted into the Songwriters Hall of Fame in 2015 and received a star on the Hollywood Walk of Fame in 2016.

One of the evening’s most memorable moments came when Russell and Lauper joined forces to perform Lauper’s mega-hit “Time After Time.” Hearing these two distinctive voices together transformed the familiar song into a particularly moving musical moment. The performance brought the audience to its feet, creating one of those special live-concert moments that performers and audiences share together.

The combination of Russell and Lauper made for an especially exciting evening. Each artist brought her own personality and musical identity to the stage, yet they complemented one another beautifully. Their performances demonstrated that great music can cross genres and generations.

They were backed by an extraordinary group of musicians: Anthony Hervey on trumpet, John Allred on trombone, Evan Arntzen on reeds, Lauren Sevian on baritone saxophone, Matt Munisteri on guitar, Ben Paterson on piano and organ, Tel Ronen on bass, and Dominick “Domo” Branch on drums.

The musicians were not simply there to accompany the singers. Each was given generous opportunities to step into the spotlight, and their solos added excitement, depth, and spontaneity to the concert. The band created a powerful musical foundation that allowed both Russell and Lauper to shine.

The Rose Theater itself added to the magic of the evening. Its intimate yet grand atmosphere makes it an extraordinary place to experience live music, and on this night, the theater seemed perfectly matched to the artistry onstage.

This was more than a concert—it was a celebration of musical history, individuality, and the continuing power of live performance. Catherine Russell and Cyndi Lauper proved to be a thrilling combination, delivering a night that was truly magical and one that the audience will not soon forget.

Gerrilyn Sohn brought her cabaret show Timeless: A Tribute to Bernadette Peters to Don’t Tell Mama in New York City, celebrating one of Broadway’s most beloved performers while making the evening distinctly her own.

Sohn did not attempt to imitate Bernadette Peters. Instead, she sang the songs that helped make Peters famous, bringing them to life in her own voice and with her own personality. It was a refreshing approach to a tribute show. Rather than trying to duplicate an iconic performer, Sohn showed why these songs continue to resonate with audiences.

Sohn has long been fascinated by Peters and feels a special connection to her. During the performance, she shared with the audience that she had actually met Peters and was deeply impressed by her warmth and friendliness. That personal connection gave the evening an added dimension, making the tribute feel genuine and heartfelt rather than simply a collection of songs associated with a famous star.

Gerrilyn’s performance was further enhanced by several duets with her talented musical director, Tracy Stark. Their musical chemistry added another layer of warmth and spontaneity to the evening. Stark was not only an accomplished musical director but also a wonderful partner onstage, complementing Sohn’s voice and helping bring the songs to life.

The repertoire celebrated the extraordinary range of material associated with Peters, from sophisticated Broadway numbers to songs filled with humor, romance and emotion. Sohn’s performance demonstrated her affection for the material while allowing her own vocal personality to shine through.

The evening was directed by Lennie Watts, whose experience and understanding of cabaret helped shape the performance. Tracy Stark served as musical director, with Marco Panascia on bass.

Timeless was ultimately less about trying to become Bernadette Peters and more about celebrating what makes Peters such an enduring theatrical icon. Gerrilyn Sohn’s admiration was evident throughout the evening, but so was her individuality. She paid tribute to Peters by singing these memorable songs in her own voice—and that made the performance a tribute worth hearing.

Prince Mario-Max Joins RTVI for a Global TV Moment

H.H. Dr. Prince Mario-Max Schaumburg-Lippe appears as a distinguished guest on RTVI in a polished international television segment airing on German American Friendship Day.

H.H. Dr. Prince Mario-Max Schaumburg-Lippe stepped into the RTVI studio for a television appearance that carried the ease of a seasoned public figure and the significance of an international cultural moment. The program, airing on Tuesday in connection with German American Friendship Day, placed him at the center of a broadcast shaped by media, friendship, heritage, and global conversation.

The invitation began with the warm, practical language of professional television. Tania confirmed the details with gratitude and reassurance, explaining that she would be present for the experience even though other hosts would conduct the particular segment. The interview, she noted, would be handled in English, with the full professionalism expected from RTVI, a U.S.-based Russian-language television network with an international audience.

That context gave the appearance a distinctive character. Prince Mario-Max was not simply entering a studio for a conventional interview. He was joining a broadcast environment built for audiences across countries, languages, and communities. RTVI’s worldwide reach made the segment a fitting platform for a guest whose public life has long intersected with international culture, media visibility, and cross-border engagement.

The location, 589 8th Avenue in Manhattan, placed the appearance squarely within the working heart of New York media. It is the kind of address where global stories are shaped through cameras, monitors, studio lights, careful scheduling, and the practiced rhythm of broadcast production. For Prince Mario-Max, the visit became another chapter in a public journey defined by elegant presentation, articulate conversation, and an instinct for connecting with audiences.

The timing on German American Friendship Day added a thoughtful layer to the occasion. As a day that recognizes the long and meaningful relationship between German and American life, it gave the appearance a natural cultural resonance. Prince Mario-Max, appearing in an American television setting with European heritage and an international public profile, embodied the very spirit of connection that the day celebrates.

In the studio image, Prince Mario-Max stands with a confident smile beside Tania Rubis, @tania.rubis, along with @dmitrisergeevnyc and @lesnichka. The group appears relaxed and polished, framed by a clean television set with bright orange screens and textured white walls. The photograph has the look of a successful broadcast moment, informal enough for social media and refined enough to reflect the standards of the studio.

Prince Mario-Max appears in a crisp white shirt, black trousers, and glasses, presenting an image that is direct, approachable, and camera-ready. His posture and expression suggest comfort in the television environment. He stands as a guest who understands the responsibilities of public communication, including presence, clarity, and the ability to turn a studio conversation into a memorable media appearance.

The caption on the image, Television with the one and only @tania.rubis, gives the moment a personal and celebratory tone. It signals that the segment was more than a scheduled taping. It was a shared experience between people who came together with mutual respect, professional goodwill, and enthusiasm for the program.

Tania Rubis played an important role in the story surrounding the appearance. Her earlier message carried the warmth of a trusted host and coordinator, making clear that Prince Mario-Max would be welcomed and supported throughout the segment. Her presence in the photograph completes that promise, showing her alongside him in the studio after the work of preparation had become a public-facing television moment.

The other participants, @dmitrisergeevnyc and @lesnichka, also form part of the broadcast atmosphere. Their presence gives the photograph the feeling of a collaborative studio ensemble, where hosts, guests, and media professionals gather to create a polished program for an audience extending far beyond the room.

Prince Mario-Max at the Center of the Broadcast

For H.H. Dr. Prince Mario-Max Schaumburg-Lippe, the RTVI appearance highlighted the value of international media as a cultural meeting place. A television studio can be a practical space, but it can also become a place where heritage, identity, and public conversation are brought into focus. On this occasion, the studio served both purposes.

The segment being conducted in English was significant. It allowed Prince Mario-Max to speak in a language that could reach a broad international audience while appearing on a network known for its Russian-language programming. That combination reflected the multilingual, multicultural reality of modern broadcasting, especially in New York.

As a guest, Prince Mario-Max brought the presence of a public figure accustomed to international settings. His appearance aligned naturally with the day’s German American theme, which honors connection between cultures rather than separation between them. In a media environment shaped by global viewership, such appearances help reinforce the importance of civic friendship, respectful exchange, and shared cultural visibility.

The television set itself supported that sense of polished modernity. The bright orange background created a strong visual identity, while the clean lines of the studio kept attention on the people in conversation. The result was contemporary, professional, and accessible, a space well suited to a guest who can move between formal identity and approachable media presence.

The image also captured the changing nature of television visibility. A guest appearance now lives in several forms at once. It exists as a broadcast, as a studio memory, as a social media post, and as a cultural marker connected to a particular day. Prince Mario-Max’s appearance on RTVI carried all of those dimensions.

There is a special quality to a television moment that happens on a day of recognized friendship between nations. German American Friendship Day gave the segment a frame of goodwill and cultural continuity. Prince Mario-Max, with his European background and American media presence, stood as an especially fitting guest for that occasion.

The New York setting deepened the relevance. New York has long been a city where international identities meet in public life. It is a place where European heritage, American ambition, immigrant stories, diplomatic relationships, and media culture regularly cross paths. A television appearance there can feel both local and global at the same time.

RTVI’s international audience made the moment even broader. The network’s viewers are not limited to one neighborhood or one country. A program aired from a studio in Manhattan can travel into homes, devices, and conversations around the world. For Prince Mario-Max, that reach reinforced the importance of appearing on platforms that speak across borders.

A Guest Appearance with Cultural Timing

The phrase Amazing TV show airing today Tuesday on German American Friendship Day captures the excitement around the broadcast. It is direct and celebratory, placing Prince Mario-Max’s appearance within a calendar moment that already carries symbolic weight. The show becomes part of the day’s cultural rhythm, adding a media highlight to the broader celebration of German American ties.

German American Friendship Day is especially suited to a guest whose public identity is connected to European culture and American visibility. Prince Mario-Max’s appearance offered a contemporary version of transatlantic connection, expressed through television rather than ceremony. It was a public conversation shaped by studio professionalism and personal warmth.

The exchange with Tania before the appearance also showed the care that surrounds a successful broadcast. She explained the structure clearly, reassured the guest about the language and format, and emphasized that everything would be handled professionally. That kind of preparation is essential to a polished television experience.

For viewers, the finished segment may appear effortless. For participants, every successful appearance depends on coordination, timing, trust, and the shared confidence of the people involved. Prince Mario-Max’s poised presence in the studio photograph suggests that those elements came together well.

The fact that the interview was conducted by other hosts while Tania remained present adds an interesting dimension to the appearance. It reflects the collaborative nature of television, where the person who makes the introduction or connection is sometimes different from the person leading the on-air conversation. In this case, Tania’s role remained meaningful because she helped create the atmosphere of welcome around the guest.

Prince Mario-Max’s image in the group photograph communicates ease without excess formality. His white shirt and composed stance project a classic television look, while his smile keeps the appearance warm and accessible. It is a balance that matters in modern media, where audiences respond to polish when it is paired with sincerity.

The setting around him speaks to the authenticity of the moment. The visible studio table, microphone details, floor equipment, and set design remind viewers that television is both performance and craft. A guest steps into a highly managed environment, then brings their own personality into the frame.

In that environment, Prince Mario-Max appears fully at home. His presence suggests familiarity with cameras and confidence in conversation. The RTVI studio becomes another setting in which he can engage a public audience with clarity and style.

The photograph’s social media tags extend the moment beyond the broadcast itself. @tania.rubis, @princemarionmax, @dmitrisergeevnyc, and @lesnichka each represent a point of connection in the story. Together, they show how contemporary television is amplified through personal networks and digital recognition.

A Modern International Media Moment

The RTVI appearance stands out because it brings together several meaningful elements at once. There is a distinguished guest in Prince Mario-Max. There is an international network with a global audience. There is a Manhattan studio. There is an English-language interview. There is the symbolic timing of German American Friendship Day. Each part adds structure to the story.

This is the kind of television moment that reflects how culture moves today. It is not confined to one language, one country, or one platform. It is produced in a studio, shared on social media, watched by international audiences, and remembered through a photograph that captures the people behind the broadcast.

Prince Mario-Max’s role as guest gives the segment its central figure. Around him, the hosts and studio team provide the framework. Tania Rubis offers the personal and professional bridge. RTVI provides the international platform. The day itself provides the theme of friendship and connection.

There is a calm elegance in that combination. Nothing about the appearance needs to be overstated. Its meaning comes from the convergence of timing, place, personality, and media reach. Prince Mario-Max appears as a guest whose presence fits naturally within a program designed for international viewers and cross-cultural conversation.

For RTVI, welcoming a guest such as H.H. Dr. Prince Mario-Max Schaumburg-Lippe reinforces the network’s ability to host figures with broad public interest. For Prince Mario-Max, the appearance strengthens his connection to international audiences and to the cultural conversations that define modern media.

The result is a television feature with a polished sense of occasion. It honors the work of the hosts and production team, acknowledges the presence of Tania Rubis, @dmitrisergeevnyc, and @lesnichka, and places Prince Mario-Max at the center of a broadcast moment aligned with German American friendship.

By the time the program airs, the story has already gathered shape. The invitation has been sent, the address has been shared, the guest has arrived, the interview has been conducted, and the studio photograph has marked the occasion. What remains is the public life of the segment itself, carried through RTVI’s international broadcast and through the networks of those who took part.

H.H. Dr. Prince Mario-Max Schaumburg-Lippe’s guest appearance on RTVI becomes a refined example of contemporary cultural media. It is international, professional, timely, and warmly human. On German American Friendship Day, it offers a fitting image of connection across communities, presented through the lasting language of television.

Last Night, Brian J. Nash put on a show that could have played to a full house at Radio City Music Hall and satisfied every single person present. At midtown’s GREENROOM 42, he held a rapt audience in the palm of his hand for the entire 80 minutes and proved to be a real “showman.” The bottom line is that Mr. Nash “is” music. His body language and connection to the piano are wild to watch and the guy’s got “moves.” He also loves every minute of what he’s doing.
Nash has arranged, MDd and played for so many popular artists that I wouldn’t do justice to a partial listing, but he is also considered to be part “Broadway Baby” having worked with the likes of Jennifer Holliday, Shoshanah Bean, Deborah Cox, Laura Benanti, Audra McDonald among them. He travels the world and chases the music. You can follow his adventures on social media and he is quite committed to his goals and is charming and funny.  This encore engagement of the gamely titled BLUE JEAN BABY GRAND was, quite simply, a knockout, after selling out back in July. With one of the greatest bands I’ve ever seen or heard, this performer tore up the music of Elton John and Billy Joel. It was a musical education, with some great photos and an adoring attitude for his heroes, having played many of their songs over his 19 and ½ years spent in piano bars. His stories of discovery go back to his youth, when his voice changed and he could no longer sing “On My Own” from LES MISÉRABLES (in the original key) and he discovered the song “Daniel.” The show soared and soared and soared and the chemistry between the “boss man” and his musicians was built on love, respect and talent. Crazy talent. The pacing and running order of the song list was diabolical. No exaggeration. One of the reasons Eda and I were able to see it was because in July the video they filmed didn’t  work, so this was a “take two” of sorts and, if tonight was captured, it will be something to behold. Bravo to all and if you see Brian J. Nash advertised to appear anywhere near where you are, RUN! You’ll thank me.

The Band: Elena Bonomo, Drums, Mohan Ritsema, Bass, Will Shishmanian, Guitar, Tom Regouski, Reeds, Andrea Neumann, Trombone, Alphonso Horne, Trumpet

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

BRIAN J. NASH

CARLOS CLEMENZ

ROGER DAWLEY, NICHOLAS YENSON, BRIAN J. NASH

NATALIE DOUGLAS & BRIAN J. NASH

ANDREW LIPPA & FRIENDS

RICHARD JAY-ALEXANDER & BRIAN J. NASH

TOM REGOUSKI & ANDREW LIPPA

EDA SOROKOFF & CARLOS CLEMENZ

CAROLOS CLEMENZ, STEPHEN SOROKOFF, BRIAN J. NASH