New York
13 Off Broadway Shows to See in September
‘The Wild Duck’
Henrik Ibsen’s searing dissections of bourgeois hypocrisies appear to be in sync with our angry times. The Norwegian playwright is even getting high-profile movie adaptations, with the Tessa Thompson-starring “Hedda” dropping in October. In New York, Simon Godwin’s production of this semi-obscure effort from 1884, about a family’s secrets coming to light, follows recent revivals of “An Enemy of the People,” “A Doll’s House” and “Ghosts.” (Through Sept. 28, Theater for a New Audience)
‘Mexodus’
In their hip-hop musical, Nygel D. Robinson and Brian Quijada portray an enslaved man and the sharecropper-turned-soldier he meets at the Rio Grande. The story looks at a different kind of Underground Railroad while also connecting to our current turbulence with an era-transcending message of solidarity. David Mendizábal directs the two-man show, which is part of Audible Theater’s series. (Sept. 9-Oct. 11, Minetta Lane Theater)
The Small Rooms Where It Happens
Grier Mathiot and Billy McEntee’s lovely “The Voices in Your Head” was staged for about 20 people at a time in a storefront church last year. McEntee’s “Slanted Floors” goes even smaller: The actors Kyle Beltran and Adam Chanler-Berat portray a couple living out their domesticity under the watch of five audience members in a Brooklyn apartment. (Sept. 9-Oct. 10, Slanted Floors Play).
A collaboration between Hansol Jung (“Wolf Play”) and the collective The Pack, co-directed by Jung and Dustin Wills, “Last Call, a Play with Cocktails” takes place in various New York City apartments, so the audience size varies depending on where the show lands on any given day. One constant: There will be drinks. (Sept. 19-Oct. 13, En Garde Arts)
‘Family’
Alec Duffy’s original staging of “Family,” an early work by the playwright-turned-filmmaker Celine Song, took place in a Brooklyn apartment for audiences of about 30. The production — outré, operatically gothic, near-feral at times — is returning for an encore run, but in a more traditional theatrical space. Let’s see how Duffy recalibrates the show. (Sept. 12-28, La MaMa)
‘The Essentialisn’t’
“Can you be Black and not perform?” Such is the question driving Eisa Davis’s new piece, in which she leads a cast of four. A Pulitzer Prize finalist for her haunting play “Bulrusher” and the co-creator of the concept album “Warriors” with Lin-Manuel Miranda, Davis remains a frustratingly underrecognized writer and performer with a lyrical, fiercely poetic voice all her own. Here is an opportunity to watch her confront and subvert the expectations placed on Black artists. (Sept. 10-28; Here Arts Center)
‘The Other Americans’
John Leguizamo’s stage career is paved with solo shows, sometimes autobiographical, in which he brings to life a gallery of characters. At first glance it looks as if his latest piece might be more of the same since it involves a Colombian American New Yorker, like the writer-performer himself. But while Leguizamo does play that central character, Nelson, he is far from alone onstage: “The Other Americans,” directed by Ruben Santiago-Hudson, is a family drama with an actual cast — it’ll be exciting to watch Leguizamo jostle with costars. (Sept. 11-Oct. 19, Public Theater)
‘Caroline’
Chloë Grace Moretz was only 17 when she starred in Scott Z. Burns’s “The Library” at the Public Theater, in 2014, but her screen career was already buzzing. Still, few expected that it would take over a decade for Moretz to return to the New York stage. At long last here she is again, under the direction of the ever-reliable David Cromer (whose recent credits include “Dead Outlaw” and “Good Night, and Good Luck”). The three characters in Preston Max Allen’s new play are all members of one family, with Moretz in the middle as the daughter of the character played by Amy Landecker (“Transparent”) and the mother of young Caroline (River Lipe-Smith). (Sept. 12-Oct. 19, MCC Theater)
‘Are the Bennet Girls OK?’
After its successful country musical “Music City” last year, the Bedlam company returns to one of its foundational authors: Jane Austen (Kate Hamill’s adaptation of “Sense and Sensibility” was an early Bedlam hit in 2014). Now Emily Breeze’s new take on “Pride and Prejudice” looks like it’s going to have fun with the Regency superstar’s best-seller: “I haven’t reread the source material since I skimmed it in high school,” Breeze claims. (Sept. 14-Oct. 19, West End Theater)
‘When the Hurlyburly’s Done’
After dedicating a decade to his “Rhinebeck Panorama” project, which includes the Apple, Gabriel and Michael family cycles, the writer-director Richard Nelson set out for war-torn Kyiv to work with the local Theater on Podil on a staging of his 2008 play “Conversations in Tusculum.” So inspired was he by the experience that he wrote the company this piece, about Ukrainian actors performing “Macbeth” in 1920. The resulting production (in Ukrainian with English supertitles) settles at Nelson’s frequent artistic home, the Public Theater, for a short run. (Sept. 16-21, Public Theater)
‘Weather Girl’
These days weather reporters like Stacey (Julia McDermott) are called upon to deliver apocalyptic accounts of a world either drowning in floods or bursting into flames along with their forecasts. Written by Brian Watkins (the creator of the time-travel Western series “Outer Range”), this solo play straddles satire and warning. (Sept. 16-Oct. 12, St. Ann’s Warehouse)
‘And Then We Were No More’
The most intriguing pairing this month may well be that of Elizabeth Marvel and Tim Blake Nelson. They are not onstage together, though: Marvel stars in this new play by Nelson, who somehow finds time to write (he also has a novel, “Superhero,” coming out in December) in between gigs as an ur-character actor (next up: the film “Bang Bang” and the series “The Lowdown”). Marvel plays a lawyer in a near-future society where the justice system is even more out of whack than our current one. (Sept. 19-Nov. 2, La MaMa)
‘Torera’
The title character of Monet Hurst-Mendoza’s play is a young Mexican woman, portrayed by Jacqueline Guillén, who yearns to make a space for herself in bullfighting — which the WP Theater’s site noncommittally refers to as “a controversial practice that we neither condemn nor condone.” Tatiana Pandiani choreographs and directs. (Sept. 20-Oct. 19, WP Theater)
‘Crooked Cross’
Sally Carson’s play premiered in Britain in 1935 and takes place just a couple of years earlier, in Germany — you can guess what the title refers to. The show, based on Carson’s own novel, presciently tracks the rise of Nazism through the prism of a divided Bavarian family. (Sept. 20-Nov. 1, Mint Theater)
‘All Right. Good Night.’
N.Y.U. Skirball plays a vital role in the New York cultural ecosystem by programming radical theatermakers from around the world, albeit for blink-and-you’ll-miss-them runs. Such is the case with this piece by the experimental German company Rimini Protokoll (“Remote New York”) in which Helgard Haug intertwines the disappearance of a Malaysia Airlines flight in 2014 with her father’s slide into dementia. Bonus: a live score by the exquisite Berlin-based musician Barbara Morgenstern and Zafraan Ensemble. (Sept. 25-27, N.Y.U. Skirball)
“It’s been 53 years. I’ve been waiting that long.” “It’s been a very long time, a long time coming. And I’m so excited that my Knicks finally brought a championship home.” “Let’s go Knicks.” “I had to wake up at six o’clock.” “Knicks in five.” “Let’s go, Knicks.” “Let’s go, Knicks!” “We just moved to D.C. a few years ago, but we’re so happy to be back in New York, celebrating. Once we won we were like — we’re absolutely coming home. So, we had to bring Chester with us. I mean, he’s the biggest puppy Knicks fan there is. Chester, can you say Knicks in 5? Knicks in five.” “I got hurt a couple weeks ago, but this is the first time they’ve been to the finals since I was a year old. And so to be able to be here, this is a once-in-a-lifetime thing.” “My man’s out here with a boot and a Josh Hart jersey. My man’s got heart.” “It feels so overwhelming but overwhelming in a good way, where, like, I want to be — I want to, like, shoot some balls. I want to, like, just vibe with everyone because everyone’s here for one purpose, and that’s celebrating the Knicks.” “This has been like a uniting situation for New Yorkers, and I just can’t wait to feel the love from everybody.” “I think it’s a great equalizer, right? It brings everyone together. It doesn’t matter if you make $900,000 a year, if you make $50,000 a year. You’re united because of the Knicks.” “So often when this city comes together, it is because we are forced to by a moment of tragedy or adversity. What a gift it is to be brought together by pure, unfiltered joy.” “Most importantly, thank you to the fans. I’m not going to lie though, y’all all are some pretty hard critics, but we appreciate it. At least I do, appreciate it a lot.”
By Stefanos Chen, Maria Cramer, Christopher Maag, Wm. Ferguson, Sutton Raphael and Laura Salaberry
June 16, 2026
How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.
We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?
Perhaps Ruby Pucillo’s number one bragging right is that she’s a tenth-generation New Yorker, one whose ancestors have lived thriftily in the boroughs since they first immigrated to New York City more than 300 years ago.
Ms. Pucillo, 25, has tried to carve out a life for herself that would mirror her family’s ideals of spending little and living a lot. But because the city her relatives arrived in generations ago now ranks among the most expensive in the world, that can present a challenge.
Ms. Pucillo’s 9 to 5 is working as an assistant editor at Abrams, an art book publishing house. After a recent promotion, her salary was bumped up to about $48,500 before taxes. Her work day begins on the subway, where she gets a head start on reading proposals and manuscripts as she travels to her office in the Financial District from uptown.
On many a weeknight, and sometimes on Saturdays, Ms. Pucillo performs as an improv jazz musician. She studied music and loves to play, but the amount she makes fluctuates — sometimes netting her upward of $1,000 in a month, other times $25, often something in the middle.
On Sundays, Ms. Pucillo travels back to where she grew-up, Hastings-on-Hudson, N.Y., to teach French and give voice lessons for $350 a month.
All told, she makes about $55,000 a year, with wiggle room for her jazz gigs.
Rent is High, but Community is Free
Ms. Pucillo lives in a rent-stabilized prewar apartment with two roommates in West Harlem. Rent runs her about $1,460 a month, including utilities and internet.
“I spend more than half my income on my rent,” Ms. Pucillo said. “But I really like my apartment, and I live on the most beautiful block in Manhattan. Community is completely free.”
After rent is paid, Ms. Pucillo diligently tracks the leftovers of her paychecks on a spreadsheet on her computer; she can account for almost every cent. Each month, she spends $300 or less on groceries and $140 of her gross monthly income goes toward public transit, using a pretax subsidy her job offers.
Then Ms. Pucillo has a “cushion” tier of expenses, for unforeseen circumstances like a co-pay at the doctor’s office, a late-night taxi ride or a case of beer for a friend who might have done her a favor, like helping her move. “I know I’m not going to pay for these things every month,” she said, “but it’s nice to have a monthly increment that either goes into my savings or comes back out of my savings later.”
Ms. Pucillo’s monthly splurge is on entertainment — dining out, live music and shows, admission fees. “I budget $500 a month for that,” she said, which she conceded felt like a lot. “But it can disappear quickly in this city.”
And twice a year, she treats herself to a curly cut done by a friend on Long Island, for the budget total of $73 — not including, of course, a tip and the cost of a Long Island Rail Road ticket.
Ms. Pucillo doesn’t pay for many streaming services, but every few weeks she pays $3 to watch a movie on YouTube. She also pays $12.99 a month for Apple News and $10.99 for Apple Music. The remaining money goes into her savings.
An Eye for Deals
Many in Ms. Pucillo’s orbit “are in a difficult financial spot, too,” she said. “Many of them are creative and have a similar idea of what it means to achieve financial stability and what it means to make your dollar stretch.”
Ms. Pucillo’s ideal equation involves doubling or tripling up on activities to get the most bang for her buck, especially when it involves something free or a promotion that makes it very cheap.
When the fitness app ClassPass offered a discounted rate of $5 per month, she signed up so she could attend cheap workout and dance classes with friends. When she found a $1-a-month deal for a cooking app, she took it so she could share meals with friends without restaurant prices.
“I’m very opportunistic,” she said. “When things come up, I take them, but otherwise I figure out how to do just about everything for free.”
Recently, Ms. Pucillo had the shopping bug, but lacked the funds to act on it, so she and a group of friends arranged a clothing swap. Everyone emerged with new pieces for their wardrobe, she said, without spending a dime.
Ms. Pucillo credits her upbringing for making resourcefulness feel second nature.
“I come from a base line that says, ‘Don’t buy anything,’” she said. Her parents moved the family to Westchester when she was young and started renting in Hastings-on-Hudson because, she said, “they wanted to put us through really good public schools. They said, ‘If you can’t be rich, live where rich people live.’”
Ms. Pucillo is grateful for that. “I had to find ways to make money,” she said, which propelled her toward “what probably will be a different and better financial situation than my parents had, and than their parents had.” Her parents have since moved from Westchester to the Bronx.
She noted that because of an array of part-time jobs she worked during her undergraduate years, a hefty scholarship and a family tradition of supporting one’s children through college, she graduated debt-free, unlike many people she knows.
Saving Up for a Piece of the City
Even with a tendency toward frugality, she said, it’s still hard to navigate New York City as a 20-something, where the incomes of friends vary, and there are so many things that entice, especially when your friends want to drop money and you don’t.
“This is a very expensive place to socialize,” Ms. Pucillo said. But she’d never consider moving.
“The people in New York — I understand them, and they understand me,” she said. “There’s a directness that you really don’t find anywhere else.”
Ms. Pucillo’s dream is to own an apartment in the city — “a pretty lofty goal in this place,” she said. Despite the nine generations of New Yorkers that came before her, Ms. Pucillo’s family doesn’t own any property.
This is why Ms. Pucillo is dedicated to building up her savings however she can, and she is preparing to open her first line of credit after years of holding out.
Ms. Pucillo’s father, a guitar teacher and a Staten Island native, has always been fond of asking this question: If you had the choice between staying in New York for the rest of your life and never being allowed to leave, or being able to go anywhere else in the world, but never returning to New York — which would you choose?
She doesn’t have to deliberate for a second. “Absolutely, I would stay in New York for the rest of my life, and I would never leave.”
We are talking to New Yorkers about how they spend, splurge and save.
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