Returning to New York a few months ago to go to the theater for the first time since March 2020 was a strange and at times a surreal experience — especially with the spike in covid numbers.

But I felt some reassurance because New York theaters are strict in only allowing only vaccinated folk inside and ushers are monitoring face mask-wearing with a fierceness that only NYC theater ushers possess.

So some quick assessments:

My favorite musical that opened this fall and winter so far — and has remained opened — is “Six,” an 80-minute romp that was just what audiences craved. It is smart, funny, feminist, energetic, witty and left you feeling uplifted in a way that only musicals can. My Variety review of the show is HERE.

I also admired the chamber opera version of Lynn Nottage’s “Intimate Apparel,” with music by Ricky Ian Gordon. For those opera lovers, Nottage’s libretto serves the music well with its private passions simmering just below the surface. My Variety review HERE.

I saw the original “Company” in 1970 and this gender switching revival is wonderful in concept, but uneven in execution by director Marianne Elliott. Matt Doyle, Patti LuPone, Jennifer Simard and Claybourn Elder were among the terrific performers who will likely be nominated for awards. I have mixed opinions about the production but ultimately glad I went and recommend it for Sondheim lovers

I’m often asked among the long-running shows, which would I recommend. My favorite recent show among these hearty musicals is “Hadestown.” It remains one cool show that is remains hotter than hell.

My favorite new play was Dominique Morisseau’s “Skeleton Crew,” which is her best of the many works that I’ve seen so far. It deals with a Detroit factory on the verge of shutting down and the lives that it effects. But unlike the overrated “Sweat” which won another Pulitzer Prize, for Lynn Nottage, this play feels fresh, surprising, and far more engaging, with characters that are not your cookie cutter types. The performances are all terrific, led by the great Phylicia Rashad. But I was blown away by a heart-renching turn by Brandon J. Dirden who plays a factory manager. (He’s sure to get a Tony Award nomination — at least. His meltdown scene in the second act is one of the best things I’ve seen on stage in quite some time.) If you’re looking for satisfying, juicy-but-nuanced drama, this is it.

Some brief thoughts on shows since closed:

Pass Over: If only the producers trusted the wonderful Chicago production, which was beautifully captured on film by Spike Lee and presented on Netflix. When the play by Antoinette Chinonye Nwandu moved to Broadway in the fall, it lost its way. The casting of a major character was off; Bill Irwin’s contributions distracted from the natural power of the piece; and the what-the-hell-was-that? ending left audiences bewildered.. Bottom line: Love the original play, but I’m not surprised the Broadway production quickly closed. Those looking for to do this work in their thjeatyers should go directly to the powerful Chicago script.

Chicken and Biscuits: This was a fun, silly, sweet show by New Haven native Douglas Lyons, a name to remember and a talent that has yet to show all that it can do.. The good news is that audience-friendly show full of gospel music and loving souls is sure to receive many more productions throughout the regions. A movie, too, perhaps. And I could even see this as a comedy series on TV. I’d certainly tune in to visit these appealing characters again.

Kimberly Akimbo: With a score by Jeanine Tesori, book by David Lindsay-Abaire, based on his play — and a lovely starring turn by Victoria Clark, this off Broadway production was also a delicate, bittersweet delight and is sure to have more productions ahead. But for me there’s nothing like discovering an extraordinary talent and in this show it presented the sensational teen Justin Cooley, right out of school. The kid is a natural. Remember the name.

Flying Over Sunset: A beautifully produced original new musical with a fine score by Tom Kitt and lyricist Michael Korie. It had a sumptuous production (Beowulf Boritt’s sets were breathtaking) and some well crafted performances, too — can you go wrong when Tony Yazbeck lets loose to sing and dance? (Well, maybe if the song about the penises rocketing to the moon.). Carmen Cusack was a knockout, too. Fascinating, esoteric, gorgeous but still James Lapine’s script (and direction) lack a reason for audiences to care about these characters of the shows theme, which was what again?