Bradley King

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]

Fat Ham

April 19, 2023

When it comes to modern adaptations of Shakespeare plays, many theatergoers tend to treat them like a test, mentally annotating plot and character correlations as if their high school English teachers were going to tap them on the shoulders and ask, "Did you catch that one?" If you suffer from this same hang up, then consider James Ijames' Pulitzer Prize-winning "Fat Ham" therapy, not only encouraging its audience to break free from fawning fidelity to the Bard but also, more poignantly, tragic endings. Simply put, for Ijames' insightfully idiosyncratic take on Hamlet, we're not in Elsinore anymore, and that's a good thing. [more]

Flying Over Sunset

December 20, 2021

"Flying Over Sunset," Pulitzer Prize-winning bookwriter/director James Lapine’s new original show, is a “What If?” musical: using historical facts that are known about writer and philosopher Aldous Huxley, politician and diplomat Clare Boothe Luce, and actor and film star Cary Grant, he has created a fictitious story about their experimenting with LSD together in the late 1950’s together. The problem seems to be that he doesn’t appear to know much about them so that the results are extremely thin though the musical still manages to run a little under three hours. The songs by Pulitzer Prize-winning composer Tom Kitt and lyricist Michael Korie don’t add a great deal and the production design which ought to be psychedelic is subdued and unadventurous. Stars Harry Hadden-Paton as Huxley, Carmen Cusack as Luce and Tony Yazbeck as Grant try valiantly but they can’t breathe life into generic cardboard cutouts. [more]

Evita

November 18, 2019

Solea Pfeiffer in a scene from New York City Center’s revival of “Evita” (Photo credit: Joan [more]

Little Shop of Horrors

November 5, 2019

In a counterintuitive casting coup, handsome Jonathan Groff stars as the nebbish Seymour Krelborn who works at Mushnik’s (a funny, kvetchy Tom Alan Robbins) failing flower shop on Skid Row. Seymour discovers an odd potted plant in Chinatown after an eclipse, a plant that leads to great success for both Mushnik and Seymour. Although it is difficult to forget Groff’s physical attributes (well-hidden under Tom Broecker’s costumes), he delivers a brilliantly realized sad sack Seymour. Poor Seymour is in love with the much put upon Audrey played with ditzy perfection by Tammy Blanchard. Two-time Tony Award winner Christian Borle chews the scenery as Audrey’s sadistic dentist boyfriend, Orin Scrivello plus several other characters such as a William Morris agent and an NBC TV executive. [more]

Hadestown

April 29, 2019

The dazzling Broadway production of Anais Mitchell’s musical "Hadestown" proves director/developer Rachel Chavkin to be a creative genius. If you had not known it after she fitted her theater-in-the round production of "Natasha and Pierre and the Comet of 1812" into a Broadway theater, it is even more obvious now. This time she has turned her 2016 New York Theatre Workshop staging in the round into a production suitable for Broadway’s Walter Kerr Theatre with its proscenium stage without losing the sense that the musical takes place in many different places. Along with gripping choreography and movement from David Neumann and an onstage jazz band of six, the show simply takes your breath away, telling the joint stories of Orpheus and Eurydice, and Hades and Persephone. [more]

Alice By Heart

March 4, 2019

Molly Gordon and Colton Ryan in a scene from MCC Theater’s new musical “Alice By Heart” [more]

Apologia

October 23, 2018

Channing is by turns aggressive, assertive, jittery, neurotic, imperious, and even petulant in the first act, only to become bewildered and subdued in the second. To rewrite Dorothy Parker’s notorious put-down of Katherine Hepburn, Channing runs the gamut of emotions from A to Z in "Apologia," even as she takes us along for the ride. [more]

Bernhardt/Hamlet

October 3, 2018

"Bernhardt/Hamlet" is structured as a backstage comedy. Sarah rehearses with French stage star Constant Coquelin playing both The Ghost and Polonius, worries that she is losing 29-year-old lover, playwright Rostand to his wife – or to his new play "Cyrano de Bergerac," and frets over her son Maurice, at 29 years old still a college student who in need of money. Added to her troubles her illustrator Alphonse Mucha whose posters of her productions have added to her fame and glory is unable to make a sketch of her as Hamlet which suits them both. Worse still all the men in her life – including the Parisian critical establishment – plus the women of Paris are saying that it is not appropriate for her to play Hamlet in breeches as it is a man’s domain. Although the new play is not entirely about women in a man’s world, Rebeck does give this theme major importance. Ultimately, Sarah receives a visit from Rostand’s clever wife Rosamund which leads to the play’s denouement. [more]

The Treasurer

September 27, 2017

With her slim physique, flawless diction, melodiously husky voice and imperious bearing, Dunagan is commanding. She conveys the character’s arrogance, selfishness and harrowing mental decline due to dementia with steely flair. She forcefully embodies the archetypal distant mother who damages her children. [more]

Natasha, Pierre & The Great Comet of 1812 on Broadway

December 23, 2016

We knew it was a great novel, but who knew Leo Tolstoy’s "War and Peace," Part I, would make such an exciting and innovative electro pop-rock opera? Not that the epic novel isn’t a fantastic read, but how to successfully put this 1,200 page novel on the stage? (Prokofiev’s opera needed 70 characters and 13 sequences.) First seen in 2012 for a sold-out 39 performance run at Ars Nova, this sung-through electro pop-rock opera, was then presented in 2013 at a supper club called Kazino (Russian for “Casino”) in the Meatpacking District, twice the size of the Ars Nova space, built specifically to house the show, and later it was moved uptown to a Kazino put up on 45th Street. [more]

The Black Crook

September 25, 2016

The creators of this version combined songs from the period—several probably used in the original production—with a pared-down version of the second-rate melodrama written with by Charles Barras (portrayed as always rattled and put upon by Steven Rattazzi), who tells his side of the story while also playing the romantic lead, Roldolphe, in the actual "Black Crook." [more]

Empanada Loca

October 27, 2015

Rubin-Vega dazzles from her first moments on stage. She is sassy and witty while sharing her life story in a raspy tone to match the mood, and maintains this intense connection with the audience the entire time. All eyes are on her as we comprehend her past and are in suspense as we see her present life unfold after learning the secrets of this empanada shop. They are unexpected and gruesome and will make the hair stand up on your head. The lighting design by Bradley King adds to the haunting atmosphere as there are moments when the light shines just right on Rubin-Vega and all you see is her face in the dark. [more]

The Winter’s Tale

February 27, 2015

"The Winter’s Tale" is classified as one of Shakespeare’s “problem plays” or “dark comedies” and as such it does not get produced very often. Under the direction of The Shakespeare Society’s Michael Sexton, The Pearl Theatre’s revival is elegant and entertaining. It solves some of the play’s problems while creating new ones. Surprisingly, the contemporary sets by Brett J. Banakis and costumes by Tilly Grimes work amazingly well for a tale told of the 16th century. [more]