• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Reviews from Broadway and Beyond

  • Now Playing
  • Recently Opened
    • Broadway
    • Off-Broadway
    • Beyond
  • Critics’ Picks
  • Our Critics
    • About Us
    • Melissa Rose Bernardo
    • Michael Feingold
    • David Finkle
    • Will Friedwald
    • Elysa Gardner
    • Sandy MacDonald
    • Jesse Oxfeld
    • MICHAEL SOMMERS
    • Steven Suskin
    • Frank Scheck
    • Roma Torre
    • Bob Verini
  • Sign Up
  • Facebook
  • Twitter
  • Now Playing
  • Recently Opened
    • Broadway
    • Off-Broadway
    • Beyond
  • Critics’ Picks
  • Our Critics
    • About Us
    • Melissa Rose Bernardo
    • Michael Feingold
    • David Finkle
    • Will Friedwald
    • Elysa Gardner
    • Sandy MacDonald
    • Jesse Oxfeld
    • MICHAEL SOMMERS
    • Steven Suskin
    • Frank Scheck
    • Roma Torre
    • Bob Verini
  • Sign Up
  • Facebook
  • Twitter
April 16, 2021 8:58 pm

SOCIAL!: It’s Time to Dance

By Melissa Rose Bernardo

★★★☆☆ Is it theater? Is it disco? Either way, it’s a safety-conscious, socially distant 55-minute experience.  

SOCIAL the social distance dance club
Karine Plantadit as DJ Mad Love in SOCIAL! the social distance dance club. Photo: Stephanie Berger

If you’ve managed to nab a ticket to the sold-out SOCIAL! the social distance dance club at the Park Avenue Armory, you’ll receive, ahead of your performance, a video of David Byrne (wearing a pretty awesome kilt) demonstrating the moves he’s hoping everyone will learn for the final song of the show. They’re pretty simple—“puppet legs,” “hold the traffic,” “vibrating palms”—and not terribly technical.

For the rest of SOCIAL!—a 55-minute dance experience with you and 99 of your not-so-closest friends—you’re on your own. Literally: You’ll be standing in a six-foot red, blue, green, yellow, or purple circle inside the cavernous 55,000-square-foot Wade Thompson Drill Hall; there’s 12 to 15 feet between each circle, so no matter your wingspan, you’ll never come in contact with other circle-dwellers. A disembodied female voice greets you as you’re led into the hall: “You are solo in your circle but not alone.”

Created by set designer Christine Jones (Let the Right One In, Harry Potter and the Cursed Child), movement director Steven Hoggett (Black Watch, Once, The Curious Incident of the Dog in the Night-Time), and musician and Talking Heads cofounder David Byrne (American Utopia)—the trio also curated the playlist, which was mixed by New York City DJ Natasha Diggs—SOCIAL! is, of course, social only in terms of distance. If you come with a friend, chances are you’ll get separated; after taking a COVID-19 rapid test, everyone gets a numbered passport and sent into a waiting room. (Our roomful of masked dancers was dubbed “Shaky Knees,” a reference to a move Byrne showed us in the preshow video—not, as I first suspected, to my rickety 40-something knees that crackle like popcorn when I do a squat.) Plus, you can’t choose your spot on the dance floor—which also means that wallflowers can’t slink into the corner.

If you’re the Billy Idol type—“When there’s nothing to lose and there’s nothing to prove/ Well I’m dancing with myself”—SOCIAL! is your jam. But if you’re not a dancin’ fool, 55 minutes will probably feel like 155. Those in need of some visual inspiration should look to the raised platform in the center of the floor: Working the laptops is DJ Mad Love, aka Alvin Ailey dancer Karine Plantadit (a Tony nominee for Come Fly Away), and she is marvelous. Another groovy visual component: the psychedelic lighting by four-time Tony winner Kevin Adams (Hedwig and the Angry Inch, American Idiot, The 39 Steps, Spring Awakening).

Byrne is there, at least in voice, to talk you through some steps—one dance features a hand-sanitizing move, another involves dodging a discarded pizza box on the sidewalk—if you can hear him over the music, that is. Have I become that crotchety oldster complaining that the music is too loud? It actually wasn’t—I just wish Byrne had been louder. One thing I did hear him say: “You’re a machine! A beautiful machine! A dancing machine!” I almost believed him.

SOCIAL! the social distance dance club opened at the Park Avenue Armory on April 13, 2021 and runs through April 22. Tickets and information: armoryonpark.org

About Melissa Rose Bernardo

Melissa Rose Bernardo has been covering theater for more than 20 years, reviewing for Entertainment Weekly and contributing to such outlets as Broadway.com, Playbill, and the gone (but not forgotten) InTheater and TheaterWeek magazines. She is a proud graduate of the University of Michigan. Twitter: @mrbplus. Email: melissa@nystagereview.com.

Primary Sidebar

The Last Bimbo of the Apocalypse: Skanks for the Y2K memories

By Michael Sommers

★★★☆☆ Gen Z vloggers seek clicks and a missing chick in a mixed-up new musical

Sexual Misconduct of the Middle Classes: Let’s Hear It From the Boy

By Melissa Rose Bernardo

★★★★☆ Hugh Jackman plays a professor entangled with a student in Hannah Moscovitch’s 90-minute drama

Sexual Misconduct of the Middle Classes: Star Power Up Close

By Frank Scheck

★★★★☆ Hugh Jackman and Ella Beatty co-star in this intimate drama about a university professor who has an affair with one of his students.

The Black Wolfe Tone: Kwaku Fortune’s Forceful Semi-Autographical Solo Click

By David Finkle

★★★★☆ The actor, new to the Manhattan Stage, makes himself known, as does director Nicola Murphy Dubey

CRITICS' PICKS

Dead Outlaw: Rip-Roarin’ Musical Hits the Bull’s-Eye

★★★★★ David Yazbek’s brashly macabre tuner features Andrew Durand as a real-life desperado, wanted dead and alive

Just in Time Christine Jonathan Julia

Just in Time: Hello, Bobby! Darin Gets a Splashy Broadway Tribute

★★★★☆ Jonathan Groff gives a once-in-a-lifetime performance as the Grammy-winning “Beyond the Sea” singer

John Proctor Is the Villain cast

John Proctor Is the Villain: A Fearless Gen Z Look at ‘The Crucible’

★★★★★ Director Danya Taymor and a dynamite cast bring Kimberly Belflower’s marvelous new play to Broadway

Good Night, and Good Luck: George Clooney Makes Startling Broadway Bow

★★★★★ Clooney and Grant Heslov adapt their 2005 film to reflect not only the Joe McCarthy era but today

The Picture of Dorian Gray: A Masterpiece from Page to Stage

★★★★★ Succession’s Sarah Snook is brilliant as everyone in a wild adaptation of Oscar Wilde’s prophetic novel

Operation Mincemeat: A Comical Slice of World War II Lore

★★★★☆ A screwball musical from London rolls onto Broadway

Sign up for new reviews

Copyright © 2025 • New York Stage Review • All Rights Reserved.

Website Built by Digital Culture NYC.