Broadway

The Outsiders: A New Musical

April 22, 2024

The cast of "The Outsiders: A New Musica"l bring their own substantial charisma to the stage, but it's been dramaturgically constrained by Adam Rapp and Justin Levine's book, which sacrifices poetry for explanation. That unfortunate choice is abetted by a score from Levine, Jonathan Clay and Zach Chance (the latter two comprising the folk duo Jamestown Revival) that, influenced by "Oklahoma!" instead of pure sentiment, is far too Rodgers and Hammerstein, when it should have aimed for Rodgers and Hart. [more]

Lempicka

April 21, 2024

In telling the life story of Tamara de Lempicka, the show begins with a fascinating premise. Unfortunately, neither the score nor the book lives up to her high standards. Unlike "Sunday in the Park with George" which showed us the workings of the artistic process, "Lempicka" is more interested in the social aspects of the 1920’s and 1930’s Paris than in Tamara’s revolutionary paintings. The cast works hard to put over the new musical but they are defeated by commonplace situations, banal song lyrics, and over-used pronouncements. The musical of Tamara de Lempicka’s life still has to be told. [more]

Water for Elephants

April 8, 2024

Playwright/bookwriter Rick Elice has written the greatest jukebox musical (so far) in his 2005 Jersey Boys. In his adaptation of Sara Gruen’s bestselling novel Water for Elephants, he may just have written the best stage musical about circuses by making the animals as real as the human characters. The indie folk band Pigpen Theatre Co. has written a varied collection of songs, ingeniously orchestrated, that are always exciting as they both forward the story and reveal the emotions of the people who sing them. However, it is director Jessica Stone assisted with circus design by Shana Carroll who has done the most inventive and original work. [more]

The Who’s Tommy

April 8, 2024

But, as the book's co-writer with Townshend, McAnuff is self-aware enough to recognize that "The Who's Tommy" needs to blow one's mind through sensory overload. That way, thoughts can't interfere with the emotional gloss covering the bizarrely bleak world, replete with both Nazis and Nazi wannabes, the show's "deaf, dumb, and blind" protagonist must endure. Its cheeriest passage is, in fact, the British victory over Germany in World War II, which occurs early on and quickly curdles after Captain Walker (Adam Jacobs), an airman thought killed in action, returns home to London in 1945, to discover that Mrs. Walker (Alison Luff) already has found another fella (Nathan Lucrezio), who her rightful husband promptly murders. [more]

The Notebook: The Musical

April 4, 2024

While the characters age, the use of diversity here has them switch races, so that while one couple has a Black Allie and a white Noah, another has a white Allie and a Black Noah, as well as Allie’s parents being played by an interracial couple. Although it is easy to follow, it is somewhat distracting until one gets used to it. The setting has also been updated from the 1940’s to the 1960’s so that Noah fights in Vietnam now rather than World War II. Brunstetter’s book is faithful to both the novel and the movie, except that while the earlier two versions were recounted by the older Noah reading to his increasingly distracted wife from the notebook that she wrote in chronological order, here there are flashbacks within flashbacks, backtracking some of the events. Brunstetter has also made the ending more explicit than either the book or the film, as well as keeping much of the original sentimentality at bay. [more]

Days of Wine and Roses: The Musical

February 7, 2024

Reteaming with O'Hara and book writer Craig Lucas for the first time since the 2005 Tony-award-winning "The Light in the Piazza," Guettel's hodgepodge of a score equates jazz with blithe inebriation and opera with soul-crushing regret, a mostly tiresome juxtaposition that includes the gobsmacking discordance of Kirsten drunkenly bebopping around her apartment while vacuuming it. That O'Hara is never less than luminous, coordinated, and note-perfect during this ill-conceived pas seul fundamentally captures what's wrong with the musical: it's much too beautiful. [more]

How to Dance in Ohio

December 12, 2023

Based on an identically titled 2015 HBO documentary by Alexandra Shiva, "How to Dance in Ohio," in its musical form, works best whenever that magnificent seven is completely together onstage and falters mightily if none of them are present. Their characters' bond comes courtesy of Dr. Emilio Amigo (Caesar Samayoa), a psychologist--in both real and theatrical life--who specializes in social therapy for autistic people. To assist them in the closing stage of their adolescent development, Dr. Amigo's creative approach is to hold a spring formal, a traditional rite of passage that, of course, generally produces a lot of anxiety even if you're not neurodivergent. Through the voice of Marideth (Madison Kopec), the newest and most studious member of the group, Rebekah Greer Melocik's high-minded book makes sure to point out this hoary event's gendered baggage, though simply as an annotation rather than as the basis for any intriguing character conflict. [more]

Spamalot

November 20, 2023

Still, whatever faint accommodations he grants it, for Idle, structure is the enemy of joy, which every aspect of "Spamalot" is relentlessly intent on delivering, not only from a few well-performed and well-known old Monty Python bits (the Knights Who Say "Ni!"; the French Taunter; the Black Knight) but also through amusing allusions to classic Broadway musicals that Aaron Sorkin was never given the chance to ruin. To be sure, it is fan service on a couple fronts, forming a Venn Diagram highlighting anyone who adores, for example, how Idle's brainy, irreverent silliness transforms Stephen Sondheim's song "Another Hundred People" from "Company" into a running plague count. It takes incredibly varied abilities to appealingly belt out Sondheim while landing that joke, which Ethan Slater, as the dejected Prince Herbert, does impressively and without remotely shortchanging either responsibility. [more]

Harmony

November 17, 2023

The musical "Harmony," the lovechild of pop music greats Barry Manilow (music) and Bruce Sussman (lyrics and book), has opened at a time when anti-Semitism has peaked once again and lessons to the contrary are in short supply. Harmony’s dive into Nazi era anti-Semitism, though, may fall on deaf ears, but Harmony is also very much an entertainment, not a message show. Certainly, Manilow and Sussman couldn’t have predicted the “perfect timing” of this staging, the last in a long line of productions, most recently at the Museum of Jewish Heritage in April, 2022. The current iteration is basically that production with most of the cast intact and a classier, mirrored set by Beowulf Boritt. [more]

Gutenberg! The Musical!

October 25, 2023

How much you enjoy 'Gutenberg! The Musical!" likely depends on a combination of factors entirely unrelated to that German fellow: familiarity with the tropes it's skewering; your own level of disdain for such hackney execution; and your tolerance for Rannells and Gad's incessant mugging. In their first Broadway pairing since "The Book of Mormon" over a decade ago, Rannells and Gad are less a comic team than a comic rivalry, with neither willing to be the Abbott to the other's Costello. Fortunately, their ping-ponging, look-at-me dynamic only occasionally grows tiresome, usually when either of them is trying to gin up laughs that aren't there or shouldn't rise above a tee-hee. [more]

Melissa Etheridge: My Window

October 17, 2023

Melissa Etheridge is a bona-fide superstar. So, why is this artist, used to appearing in huge venues, “slumming” in a Broadway theater with a capacity of less than 800? Let’s not look this gift horse in the mouth. This is a gem of an opportunity to see Etheridge up close and personal in her My Window autobiographical show at the Circle in the Square. This is a memoir in song, songs that sprang from her adventurous life that went from entertaining in saloons to becoming a lesbian icon and a major rock concert star. [more]

Back to the Future: The Musical

August 16, 2023

"Back to the Future: The Musical," the time travel adventure, joins a long line of problematic screen to stage musicalizations which do not improve on the originals in any way. Joining the list that includes in recent memory "Pretty Woman," "King Kong," "Tootsie," "Mrs. Doubtfire" and "Almost Famous," Back to the Future, using one of the original movie’s co-writers (Bob Gale without Robert Zemeckis), attempts to transplant the film in toto to the stage of the Winter Garden Theatre without adding anything new to the mix other than having the characters sing and dance. If theater is meant to surprise us, then like the stage version of "Almost Famous," "Back to the Future" slavishly follows its source material so that we feel like we have seen it all before – and better. [more]

Here Lies Love

August 2, 2023

"Here Lies Love" unreels like an MTV music video with the emotional content lost in the technique. The real issue of this musical is that it’s impossible to feel anything for the lead characters, with the possible exception of Estrella. They are moved about the extraordinarily gimmicky set like chess pieces with Imelda checkmating everybody. Jacobs evinces the boldness of Imelda, the script limiting her ability to show any tenderness or vulnerability. Llana's Ferdinand is written pretty much as a stolid symbol, hardly human at all. [more]

Once Upon a One More Time

July 3, 2023

The only problem with Hartmere’s plot is that it remains undeveloped. None of the princesses get to read Friedan's book (there is initially only one copy) and they take it on faith that it offers them alternatives. The plot goes off on a series of tangents (Prince Charming’s assistant Prince Erudite the Celibate reveals that he is gay when he meets Snow White’s assistant Clumsy, the Cinderella’s Stepmother attempts to get the Narrator to choose one of her daughters for Prince Charming after Cinderella’s defection) but these narratives turn out as you would expect with no surprises. As staged by director/choreographer team Keene & Mari Madrid, whose credits up until now are mainly in film and music video, (creative consultant: British director: David Leveaux), the many production numbers look like aerobics for a rock video which may please Spears fans but look incongruous in a Broadway musical based on 18th and 19th century stories. Spears’ fans will be pleased that the show includes eight of her top ten hits: “Oops!... I Did It Again,” “Baby One More Time,” “Gimme More,” “Toxic,” “Circus,” “Lucky,” “Work Bitch,” and “Stronger,” almost all with lyrics tweaked by Hartmere to fit a story of princes and princesses. [more]

New York, New York

May 16, 2023

"New York, New York" is a big, jazzy show in the style of golden age musicals we have not seen for a while. While it removes the abusive relationship between Jimmy and Francine from the film, in doing so it waters down the story to a rather old-fashioned “newcomers make good in the big city” tale we have seen before. The theme of racism is handled rather simplistically, borrowing parts of the Lena Horne and Dorothy Dandridge stories. Characters seem to come and go and are often gone for too long a time. The new collaborations by Kander and Miranda are fun to hear but they do not come up to the standard of the Kander and Ebb songs that we know. The show becomes a showcase for the much loved songs “But the World Goes ‘Round” and “New York, New York” which are given pride of place. [more]

Camelot

April 20, 2023

Unfortunately, though Sorkin may have made this "Camelot" more politically correct, scientifically accurate and less supernatural, it is much less entertaining and magical than earlier productions and certainly much darker as well as less funny. Whereas the original 1960 Broadway production billed itself as “the most beautiful show in the world,” Bartlett Sher’s revival has an almost empty grey stage most of the time (designed by Michael Yeargan) and drab costumes from Jennifer Moeller. Although the cast has 25 performers, the court scenes always look underpopulated as though not enough courtiers have shown up and there is almost no pageantry which one expects for a royal court of the Dark Ages or the Middle Ages. [more]

Shucked

April 17, 2023

In addition to a surfeit of approximate rhymes, the score for Shucked includes a paean to corn and a reprise of the following ready-for-Hallmark advice: "maybe love is like a seed/a little sun is all you need." Meanwhile, Horn blithely salts the earth with acerbic observations about how "marriage is simply two people coming together to solve problems they didn't have before." Foregoing any accountability for this philosophical inconsistency, director Jack O'Brien instead attempts to cover for it with turbo-charged pacing that not only sacrifices thought for an admittedly infectious energy but also, as a part of this devil's bargain, undermines the comic timing necessary for a lot of Horn's jokes to land properly. But the amiable cast never falters, even when the laughs do or the score becomes more saccharine than corn syrup. The cast is adept, too, at executing Sarah O'Gleby's inventive choreography on scenic designer Scott Pask's ramshackle barn of a set. Particularly enchanting is a rolling barrel dance that Durand daringly pulls off with impressive grace. It's just too bad that this delightful surprise isn't accompanied by many others. [more]

Bob Fosse’s Dancin’

April 6, 2023

Perhaps it’s the difficulty of finding dancers who can perform the intricate, body isolation moves so emblematic of Fosse’s very individual style, but to those who know and experienced his brilliance when he was hands on, this cast is a bit too clean cut and even-tempered. (The late Ann Reinking, a Fosse muse, was more successful staging her revival of "Chicago" still setting records on Broadway after moving from its New York City Center Encores! birthplace.) Nevertheless, Cilento is using a great deal of the original vignettes, excluding a few (most particularly Fosse’s perfectly ludicrous sexualizing of a ballet class) and adding more spoken lines, including an intermittent narration given by the charming, solid Manuel Herrera who also shows off his great dancing chops. [more]

Bad Cinderella

March 29, 2023

The book of "Bad Cinderella" plays like a series of unfunny "Saturday Night Live" sketches. Laurence Connor (who also directed the earlier London production) has given the show no particular style and each scene seems to be in another genre. The show can’t decide if it is taking place now - with its references to rock band Guns N’ Roses (parodied in the song “Buns ‘n’ Roses”),its use of both diversity and inclusion, a female Vicar, its erotic baker, reference to a “spare” prince, and its shirtless muscle hunks seen in the palace gym – or the Middle Ages. [more]

Parade

March 27, 2023

While Brown's tunefully varied score strives to historically situate the bigoted nightmare we're witnessing within the cultural context of the South's fabricated sense of nobility and victimhood, an offensive postbellum myth known as The Lost Cause, Alfred Uhry's reductive book ham-fistedly narrows our attention, transitioning from a corrupt law-and-order procedural in the first act to a preposterously scripted search for the truth after the intermission. Although Dane Laffrey's unremarkably fungible from-courthouse-to-prison-to-gallows set overbrims with historical figures, most of them exist on a character believability spectrum somewhere between "My Cousin Vinny" and "Driving Miss Daisy" (also written by Uhry). If not for Sven Ortel's rear-wall historical projections of these real people, an audience might suspect at least a few of them were invented out of whole cloth. [more]

A Beautiful Noise: The Neil Diamond Musical

January 21, 2023

When the older Diamond reaches an existential breaking point, he finally stands up, stage center and takes command of his memories, experiences and his life with an intensely concentrated rendition of “I Am...I Said.” As sung by Mark Jacoby, it is the most poignant moment of the show, particularly when he confronts his younger self face-to-face. Will Swenson, the charismatic star of 'A Beautiful Noise," is hampered by the full-steam-ahead pacing of the show, leaving little time for introspection. He is a powerhouse, molding his voice to sound like the actual Neil Diamond as best he can, often missing the mark. But that’s okay because the majority of the audience came to feast on the songbook of a favorite performer and they are rewarded handily. [more]

Some Like It Hot

December 19, 2022

Matthew López & Amber Ruffin (book) and Marc Shaiman & Scott Wittman (music and lyrics) have transformed the written-for-laughs film into a joyous musical, keeping much of the sharp wit of the original. Most importantly, they added heart and even a surprisingly contemporary spin or two, buoyed by the brilliance of Casey Nicholaw’s direction and choreography (although all those knee slides made me worry for the talented dancers’ health!) [more]

KPOP

December 5, 2022

Adopting the hokey framing device of a concert documentary, Kim turns the impending U.S. debut of a South Korean entertainment company's three hottest acts into a triptych of rigorously gendered plots. While attempting to capture all the glitz, glamor, and artistry, the American documentarian (Aubie Merrylees) also relentlessly stirs the pot to heighten any behind-the-scenes discord for the cameras, which doesn't make much sense since his paycheck is signed by Ruby (Jully Lee), the record label's iron-fisted founder and driving force, who obviously wants a glorified promotional video, not an investigative report. But to ascribe dramaturgical logic to the situation is to entirely miss the point. Aided by Peter Nigrini's voyeuristic projections of backstage squabbling, the objective is not truth but, rather, to establish the type of assiduously rendered false intimacy fans perceive as truth. [more]

& Juliet

November 30, 2022

The cast is a combination of New York stage favorites (Stark Sands, "Kinky Boots," and Betsy Wolfe, "Waitress," "Falsettos" and "The Mystery of Edwin Drood"), new faces (Lorna Courtney, Ben Jackson Walker, Justin David Sullivan) and older veterans (opera baritone Paolo Szot and London stage star Melanie La Barrie making her Broadway debut.) The clever book is by writer David West Read previously seen in New York with "The Performers" and "The Dream of the Burning Boy" as well as the long running television series Schitt’s Creek. The show seems to have been influenced by "Something Rotten"(parody of Elizabethan times), "Six "(its updated 16th century costumes by Paloma Young), "Head Over Heels" (reboot of a classic tale wedded to a pop-rock score) and "Moulin Rouge" (the over-the-top staging by director Luke Sheppard and choreographer Jennifer Weber) – but is actually more fun than all of those shows. At times it resembles "Saturday Night Live" skits but knows enough to keep them short and not let any of them go on too long before introducing the next complication. [more]

Kimberly Akimbo

November 23, 2022

"Kimberly Akimbo," David Lindsay-Abaire’s oddball take on the title character’s dishearteningly sad disease, began life as a play back in 2001, reaching New York via the Manhattan Theatre Club in 2003. In 2021 Lindsay-Abaire (libretto and lyrics) combined resources with the eloquent composer, Jeanine Tesori, to restyle the play as an award-winning musical produced at the Atlantic Theater Company in November 2021. This is the production that has moved to the Booth Theatre where it now resides featuring the glowing performance of Victoria Clark as the troubled title character. Jessica Stone repeats her directorial duties, managing the move to a larger venue with skill and subtlety. [more]

Almost Famous

November 15, 2022

What Crowe has done in writing his own book for the new show is recreate almost exactly every scene in the movie starting from the time when 15-year-old hero William Miller meets rock critic Lester Bangs, including the bus and plane sequences. The best lines in the stage version are recognizable from the film and nothing of equal stature has been added to the version now on stage at the Bernard J. Jacobs Theatre. The new songs credited to composer Tom Kitt with lyrics by Crowe and Kitt add little to the work as they do not forward the story. A good many of the iconic songs from the film make their appearance but as staged by director Jeremy Herrin and choreographer Sarah O’Gleby they are the least effective numbers in the show. [more]

1776

October 18, 2022

Directed by Jeffrey L. Page (who also did the simplistic choreography) and Diane Paulus, this production’s well-meaning gimmick is to have all the historic characters played by a “cast that includes multiple representations of race, ethnicity and gender [who] identify as female, transgender and nonbinary,” to quote the exacting language of the production’s press release. This casting coup works most notably as a political statement, hopefully forcing the audience take a fresh look at the original all-male contingent, however brilliant they may have been, and their flaws. The word “woman” never appears in the Declaration of Independence (nor the Constitution) and the millions of Black slaves were quite purposely and expediently left out of the Declaration. This multi-racial cast is a not-so-subtle slap in their faces. [more]

Into the Woods

July 20, 2022

Patina Miller as The Witch in a scene from the New York City Center Encores! Production of “Into [more]

Paradise Square

May 11, 2022

Based on historical facts, the new and exciting musical "Paradise Square" tells a story of fictional characters caught up in real events which lead up to the Draft Riots that occurred in Manhattan in July 1863. Set in the notorious neighborhood known as Five Points, renowned as the most dangerous place to live in the United States, it takes place mainly in the fictional Paradise Square Saloon in the real Paradise Square. Aside from the sensational dancing by choreographer Bill T. Jones and a rousing score by composer Jason Howland who also conducts, the show stars Joaquina Kalukango giving a show-stopping performance in the leading role. However, she is also surrounded by a great many leading characters played by actors at the top of their game. Like an epic adventure, Paradise Square will keep you engrossed until the very last moment. [more]

Mr. Saturday Night

May 6, 2022

Anyone else may find this decent show to be a tired affair which just about sustains its two-and-half-hour running time. The memory-piece book by Crystal, Lowell Ganz and Babaloo Mandel is based on their screenplay which ranges from the 1950’s to the 1990’s. It intends to be a loving tribute to a bygone show business era and fitfully succeeds at that. The schmaltz-laden dramatic writing never really rises above the rudimentary, rendering the events and conflicts with patness and clichés. Still, it offers choice roles that are marvelously performed by the other cast members. [more]

A Strange Loop

May 5, 2022

Deliriously and explicitly profane, Michael R. Jackson’s Pulitzer Prize winning musical, "A Strange Loop" has—unbelievably—made it to Broadway, produced by Playwrights Horizons, Page 73 and the Woolly Mammoth Theatre Company. Jackson’s explicit portrait of a lost soul’s salty journey is alternately stunning and amusing, appealing and appalling, told at a breakneck pace through his book, lyrics and music. It’s a rare, if dispiriting, portrait of a gay man who isn’t a paragon, a man who isn’t conventionally handsome, successful or rich. [more]

Funny Girl

April 29, 2022

Beanie Feldstein’s clunky rendition of “I'm the Greatest Star” crystalizes the absurdist dimension of this off-kilter first Broadway revival of the 1964 musical, "Funny Girl." With her nasal, often muffled singing, oddly emphatic line readings and smug mugging, in no way does she suggest a great star, yet this nearly three-hour show is centered around her. It instantly deflates with her wan introductory “Hello, gorgeous.” She does exhibit idiosyncratic pluck and stamina throughout. [more]

The Music Man

February 22, 2022

Because of changing social mores, some Broadway musicals are assumed to make audiences uncomfortable today. Take for example Rodgers and Hammerstein’s "Carousel" whose protagonist is a wife-beater. The recent revival did everything in its power to mitigate this problem but did not succeed. Now we have the long awaited revival of Meredith Willson’s "The Music Man" starring film megastar Hugh Jackman as Professor Harold Hill and two-time Tony Award-winner Sutton Foster as Marian Paroo, the librarian and music teacher. The problem the director and producers had with this classic piece of Americana, set in 1912, is that the hero Professor Hill is a con-artist and a serial seducer with whom we are supposed to be sympathetic. However, in 2022 this is an obstacle in an era when lovable rogues are not acceptable as heroes. As a solution, Jackman has been directed by Jerry Zaks to play Harold Hill as low-key and muted as he possibly can. What this does is straitjackets Jackman’s personal charm and charisma which he normally has in spades. The result is an undercooked Music Man even though it has been given a big, expensive production – six Tony Award winners on stage and six in the production team - maybe the starriest cast in New York right now. [more]

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