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Broadway

Straight White Men

August 10, 2018

Given how physically playful the brothers are with each other--and with their father--"Straight White Men" is that rare play that even has a credited choreographer, Faye Driscoll. In addition to making good on the promise he made in last year’s "Call Me By Your Name," that he was an actor to be watched--and not only because he’s so attractive--Armie Hammer proves especially deft with Driscoll’s many maneuvers, like leaping on or off the sofa or the coffee table. [more]

Travesties

May 8, 2018

The play is narrated by Carr through his memories as an doddering 80-year-old man, returning him (and us) to his days as a 30-year-old resident of Zurich. As such he both unreliable, altering his story as he narrates his life, with “time turns” allowing us to see the same scene in an alternate form. Travesties is set in both his apartment as well as the then new Zurich Public Library simultaneously, while scenes from "The Importance of Being Earnest" keep intruding into his story both in literally as well as satirical form with Tzara as Ernest Worthing, Joyce as Lady Bracknell and Carr playing his original stage role of Algernon Moncrieff. Shades of Oscar Wilde, his sister named Gwendolyn is Joyce’s secretary as he writes his novel "Ulysses," while the librarian who is helping Lenin on his book is named Cecily. Gwendolyn and Cecily also play out the breakfast scenes from Wilde’s play around the tea table. A knowledge of Wilde’s comedy is mandatory. [more]

Saint Joan

May 8, 2018

After "Ruined" and then last year’s "A Doll’s House, Part 2," Condola Rashad is fast establishing herself as one of our finest young actresses. She is presently back on Broadway, offering a steely and, shall we say, saintly performance as the title character in George Bernard Shaw’s "Saint Joan" at the Manhattan Theatre Club’s Samuel J. Friedman Theatre. [more]

The Iceman Cometh

May 7, 2018

Denzel Washington, the raison d’être of this production (coming way too soon after several recent stagings), gives a boisterous, almost pleasant performance as Theodore Hickman, aka Hickey, who is the “Godot” of "Iceman," in whom the godforsaken characters put too much faith, a faith that, by the end of the play, is shown to be clearly misplaced. There is absolutely no foreboding in his interpretation.  He takes the glad-handing aspect of Hickey too literally so it is difficult to understand his sway over the denizens of Harry Hope’s saloon.  True, these depressives look forward to his regular visits, but Washington’s Hickey simply doesn’t fit in. He’s more worshiped than embraced. [more]

Children of a Lesser God

April 16, 2018

A regular on the television series "Dawson’s Creek" and currently appearing on "The Affair," the affable Joshua Jackson plays James. Mr. Jackson’s talents are not showcased in this production. Jackson’s speech pattern is monotonous and his lack of sensuality makes the attraction between him and Sarah less than palpable. He gets through the role with professionalism but with little impact. Others in the cast make up for this void but the vacuum of implausibility looms. [more]

Lobby Hero

April 16, 2018

Ethical integrity versus moral turpitude is the theme of Kenneth Lonergan’s "Lobby Hero" now having its Broadway debut at The Second Stage’s newly renovated home, The Helen Hayes Theater. Although Trip Cullman’s production is very leisurely for at least the first half of this talky and long play first seen in New York in 2001, his quartet of impeccably cast players (Michel Cera, Brian Tyree Henry, Bel Powley and Chris Evans in his Broadway debut) have a field day with these ethically challenged police and security officers. "Lobby Hero" may appear at first to have a great many meaningless conversations, but it all becomes a tight web of intrigue as the tension rises in the second act. [more]

Three Tall Women

April 3, 2018

If you pay any attention to the Rialto, then you knew that Jackson was going to be in the play--the play that salvaged Albee’s reputation in 1993 and won him his third Pulitzer Prize--since it was announced last year. And I’m pleased to report, if you were anticipating Jackson doing "Three Tall Women" with high expectations, you will not be disappointed. She surpasses whatever you were expecting with a kind of fierce and cold glory, appropriate to the 92-year-old A. From B’s servitude as A’s nurse, in the first part, to her becoming the somewhat haughty, 52-year-old A, in Part 2, Laurie Metcalf negotiates the character’s huge emotional shift with ease and naturalness. [more]

John Lithgow: Stories by Heart

January 15, 2018

But in John Lithgow: Stories by Heart, Lithgow tells an even more compelling tale about growing up with his father Arthur Lithgow, an actor who taught Shakespeare even as he opened and ran Shakespeare festivals throughout the Midwest. Lithgow’s peripatetic experience with this show is not unlike, in other words, his father’s experiences when his son John was growing up. Though it’s truly sui generis, "Stories by Heart" is reminiscent of Lynn Redgrave’s tribute to her father, Sir Michael. [more]

Meteor Shower

December 27, 2017

Steve Martin’s old/new wonderful comedy, "Meteor Shower," is about two California couples getting together for the first time--again, and again, and again. Like "Groundhog Day," it keeps starting all over again, with ensuing variations. And in the course of its brief, 80-minute, intermission-less duration, the couples have exchanged more than just words and ideas. By the end, they seem to have exchanged their personalities as well. The passive Corky has become more aggressive, and the overly assertive Laura has become less sure of herself. Similar reversals could be said about their respective husbands, Norm and Gerald. As Norm even says of Gerald, he’s “kind of two people.” [more]

Farinelli and the King

December 23, 2017

Giving a performance of the caliber of his earlier Shakespeare’s Globe portrayals of the Countess Olivia in "Twelfth Night" and the title role of "Richard III" which also played Broadway’s Belasco Theatre, Rylance is mesmerizing. He is one of a handful of actors who when they are on stage you cannot take your eyes off them. Playing the gamut of emotions, as well as playing off of the audience, Rylance continually takes us by surprise at his choices. His famous speech pattern which includes hesitation is perfect for the mad king who often seems to change direction midsentence. Even when he is silent he commands the stage. As we listen to Farinelli sing, we watch Rylance’s face to see his joyful reaction which tells us all we need to know. It is no wonder that he is often called the greatest stage actor of his generation. [more]

The Children

December 17, 2017

Despite a brilliant display of achingly detailed acting—reason enough for connoisseurs of acting to rush to this production directed by James Macdonald—its uneasy blend of a frightening nuclear apocalypse and an ugly romantic triangle might be an obstacle for some.  "The Children" is a quiet, whispered scream of a drama that takes viewers by surprise even as the characters bleed and brood. [more]

The Parisian Woman

December 12, 2017

Inspired by Henri Becque’s notorious 1885 "La Parisienne," credited as the first Naturalistic French play, Willimon has taken its plot, characters and themes of sex, adultery, betrayal and power. To this he has added modern politics as it is being practiced in Trump’s Washington. Tom, a high-powered Beltway tax lawyer who works with both Democrats and Republicans, and Chloe, his socialite wife, are in an open marriage. While she is attempting to break up with her lover Peter, a banker, Tom asks for his help in getting the nomination for an appointment on the circuit court though he has never been a judge before. When it looks like Tom is no longer in the running, Chloe decides to act on her own and approaches her new friend Jeanette, the President’s choice for Chair of the Federal Reserve, a staunch Republican power broker and contributor. How this plays out shows the ins and outs of Washington negotiating. While none of this is particularly new, Willimon uses some of the latest contemporary wrinkles. [more]

Junk

November 22, 2017

The protagonist of "Junk" is one Robert Merkin (Steven Pasquale), whose name alone is reminiscent of the real-life person he represents, Michael Robert Milken, the “Junk Bond King” of the mid 1980’s, who went to jail in 1990, and whose practices led to the world market crash a decade or so ago. “This is a story of kings, or what passes for kings these days,” says Forbes reporter Judy Chen (Teresa Avia Lim), in the play’s opening lines. “….enthroned in sky-high castles and embroiled in battles over, what else? Money.” [more]

Latin History for Morons

November 21, 2017

After his teenaged son is called a “beaner” by one of his classmates at a WASPy private school, Leguizamo is inspired to educate the rest of the United States about the overlooked achievements of Latin culture. This is done as a wild, stand-up comedy routine where the audience is directly engaged and occasionally heckled, and with a superior theatrical presentation. [more]

M. Butterfly

November 15, 2017

Inspired by the true case of an affair between French diplomat Bernard Boursicot and Chinese opera singer Shi Pei Pu from 1960 – 1986 which led to a trial for espionage, Hwang’s problem in 2017 was that the story has become so well-known that the reveal at the end of the play is no longer a surprise. As a result, Hwang has worked to come up with new elements taken from the true case to make the play more startling for audiences that already know the tale. Director Julie Taymor who has in the past done wonderful work with exotic material ("The Transposed Heads," "The Green Bird," "The Lion King") does not give the play as much help as it needs, making it much too literal for its own good. [more]

Time and the Conways

October 23, 2017

Elizabeth McGovern, Charlotte Parry and Anna Baryshnikov in a scene from J.B.Priestley’s [more]

Marvin’s Room

July 18, 2017

If you saw the original New York production of "Marvin’s Room," you may find yourself feeling that the play was more effective when it was presented in the far more intimate environment of Playwrights Horizons. The otherwise fine cast--which also includes Luca Padovan as Charlie and Carmen Lacivita and Nedra McClyde in various roles-- simply gets lost in the expansive space of the American Airlines Theatre. [more]

1984

July 13, 2017

Icke and MacMillan’s version is tricked up with much multimedia, sound and lights, and disorientation. Faithful to the book, it claims to be the first adaptation to include Orwell’s appendix supposedly written years after the events of the novel. The first third of the play which mixes past, present and future would be very hard to follow for someone who has not read the book. For two-thirds of the play, Chloe Lamford’s set is a wood paneled library or reading room which must make do for an office cubicle, an office cafeteria, an antique shop, a meeting room, a path through a forest, and the home of the hero, Winston Smith. The last third of the play which depicts the reeducation of Winston, i.e. torture and brainwashing, is very graphic and as such difficult to sit through; the book’s description, however, which drew a curtain over the actual violence made it seem like it went on for months or years. [more]

A Doll’s House, Part 2

May 12, 2017

Hnath’s new story is absorbing and twisty, interestingly creating an entirely new set of ethical and social questions than was handled by Ibsen in 1879. He has handled it in a similar fashion to Bergman’s "Scenes from a Marriage" but without the painful emotional fireworks. It is 15 years since Nora had left her husband, stating he had no further claim on her. She has not been heard from since. Having become a famous feminist author with advanced ideas writing under a pseudonym, she has recently discovered due to a blackmail attempt that Torvald has never divorced her which she assumed he had done. Having lived as a single woman, signing contracts, controlling her own money, and having relationships with men not her husband, she is guilty of a criminal offense under Norway’s laws at the time and can be sent to jail. She arrives at his door to obtain her divorce to really be a free woman. [more]

Six Degrees of Separation

May 9, 2017

All the acting is sharp, from the upper-crusters taken in by Paul (Lisa Emery, Michael Countryman and Ned Eisenberg) to their kids (Colby Minifie, Keenan Jolliff, Ned Riseley, and Cody Kostro), Chris Perfetti as Trent who, sexually intoxicated by Paul, fills him in on the ways and means of all the people he will eventually swindle, and finally, to the young lovers (Peter Mark Kendall and Sarah Mezzanotte) whose fate reveals just how psychologically damaging Paul can be. [more]

Oslo

May 4, 2017

The clarity of this new play by J.T. Rogers does not only rely on the smart yet surefire way it’s written, but also on the masterful staging by Bartlett Sher, who, after recent productions of both "South Pacific" and "The King and I," is no stranger to directing gargantuan shows at Lincoln Center. Given its subject--the Oslo Accord or peace treaty between Israel and the Palestine Liberation Organization (P.L.O.) in 1993--Oslo is ultimately, an enormous play. But it is told in intimate terms. [more]

Indecent

April 25, 2017

"Indecent" is, on the surface, the history of Yiddish writer Sholem Asch’s brave Yiddish play "God of Vengeance" which was—incredibly, considering its wise understanding of the Jewish demimonde—written in 1906 during the height of anti-Jewish pogroms. (Asch actually witnessed a pogrom and its ugliness tainted his life thereafter.) It is far more, though. The play is a look at the sweep of Jewish life in the twentieth century using Asch’s creation as the hook. [more]

Present Laughter

April 23, 2017

As the ageing matinee idol who never forgets to check his appearance in the mirror, Kline plays a man who is always acting, both on stage and off. His animated physicality in his roles has always been in evidence but here he outdoes himself. Using his arms, hands, head, face and body as his canvas, he is almost never still showing us what can be done on each and every line. He makes even an ordinary line into a witticism and his comebacks wither with every additional jibe. He cajoles, seduces, emotes, wheedles and at the same time suggests he pities himself. He creates a bigger than life character (is John Barrymore his model?) and watching him is a lesson in consummate acting. So completely does he make Garry Essendine his own, you cannot imagine anyone else in the role – although among other New York revivals he has been played by such stars as George C. Scott, Frank Langella, Victor Garber and Coward himself. [more]

The Play That Goes Wrong

April 12, 2017

While the non-stop buffoonery is reminiscent of Charles Ludlam and his Ridiculous Theatrical Company, this British import (produced by London’s Mischief Theater, no less) immediately evokes inevitable comparisons with "Noises Off," Michael Frayn’s divine and (admittedly, more) sophisticated farce about a community theater company putting on a play--perhaps the most hilarious, theatrical farce that has ever been devised by a playwright. But the present offering also has less of an agenda, settling for the sheer mayhem of putting together a group of people on a stage, during an ongoing performance, when absolutely everything that can possibly go wrong, does. It’s a surefire setup for the comic and rewarding chaos that ensues. In the end, and basically throughout, "The Play that Goes Wrong" has gone very right, indeed. [more]

Sweat

April 3, 2017

"Sweat" is a classic, “well-made”--or carefully constructed--play, with a focus on the dwindling work for people in the middle of the country, prompting them to install Trump in the White House--to the ongoing dismay of the rest of the world. It couldn’t be more topical even as it helps us understand just exactly what’s been happening to bring us all to this sorry state. It was also based on Nottage’s extensive interviews with many actual residents of Reading, fueling the drama’s impact. [more]

The Price

March 27, 2017

Maybe “fireworks” is too strong a word for a production that is more of a slow burn. The play begins when Mark Ruffalo, as Victor, walks up, into the top floor of the home his family was consigned to, when the Great Depression of 1929 hit and their father lost his fortune. The essence of the conflict between Victor (a policeman) and Walter (a doctor) boils down to economic inequality. (As Walter says to Victor, “It’s very complicated between us.”) Though they both grew up with a chauffeur, the older Walter went on to a successful career while Victor stayed behind to care for their father when everything was lost during the Depression. [more]

Significant Other

March 17, 2017

It’s well constructed, the dialogue is snappy and filled with some funny one-liners. The milieu is that of upper middle class Manhattan white-collar workers. Moderately entertaining, it attempts to explore a prevalent societal issue, but is undermined by its off-putting main character and its rarified sensibility. There is minimal sex talk and that is mostly cute, rather then revelatory. Jordan rhapsodizes about a male co-worker’s body, but doesn’t extoll anything much below the waist. [more]

The Glass Menagerie

March 14, 2017

Sam Gold’s revival of "The Glass Menagerie," the fifth major production of the play in New York since 2005, is such a one. He has decided to remove all of the historical relevance as well as the scenery from this classic Tennessee Williams’ memory play. What he has also done is remove all of the poetry and all of the emotion in a play that on the surface would seem director proof. Ultimately, the production is more a director’s exercise in seeing how much he can cut from a play that tells a realistic story in a lyrical manner. A pity as his cast has two-time Academy Award winner Sally Field returning to Broadway after an absence of 15 years, two-time Tony Award winner Joe Mantello, Finn Wittrock (Theatre World Award and Clarence Derwent Award for "Death of a Salesman"), and debuting actress Madison Ferris. [more]

Jitney

January 28, 2017

Director Ruben Santiago-Hudson has himself won a Tony Award for his performance in Wilson’s "Seven Guitars" and has directed acclaimed Off Broadway revivals of "The Piano Lesson" and "Seven Guitars." He has assembled a cast of nine in which seven of the actors are veterans of Wilson play including Antony Chisholm who appears in the 2000 production. A true ensemble led by John Douglas Thompson and André Holland (currently in "Moonlight"), a better staging could not be imagined of this involving and engrossing play. [more]

The Present

January 21, 2017

Upton’s version solves some problems and creates others. Updated to the 1990’s, the play is no longer about life in Tsarist Russia but the post-Perestroika world of Glasnost. While the original has characters talk about how much better life will be in the future, the new version has the characters wax nostalgic about the recent past but also talk about the challenge of the new Russia in the present. It is not obvious for much of the first scene that the play takes place in the Russian country. [more]

The Front Page

November 14, 2016

Ben Hecht and Charles MacArthur’s "The Front Page" remains the quintessential comedy about the tabloid newspaper racket. Jack O’Brien’s production plays it safe while a more brazen and outrageous style might have obtained more laughs. The current revival with its many recognizable names and faces is still entertaining fun. And it does bring back to the Broadway stage the incomparable Nathan Lane in top form in an unforgettable role. [more]

Les Liaisons Dangereuses

November 9, 2016

Josie Rourke, artisic director of the Donmar Warehouse, understands the game’s complexity and what adroit moves need to be made throughout to maintain a psychological cohesiveness. Her deft hand is evident in her light touch so that the production is not weighed down by nastiness. Where Rourke falls down is casting Schreiber, who is known for his charismatic masculinity and not for being a jocund bon vivant. Valmont needs to be more calculating, as well as, effete. [more]
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