Colin Donnell

The Shark Is Broken

August 17, 2023

As for what's in a name, yes, Ian Shaw is Robert's son, returning the life-giving favor not just through his words but also bodily, portraying his father in "The Shark Is Broken" with a candid empathy (and astonishing physical resemblance) that highlights the elder Shaw's strengths while giving context to his weaknesses, too. Because of ongoing technical difficulties with Spielberg's monstrous mechanical fish, known as Bruce, there was protracted downtime during the filming of "Jaws," which the play fills with imagined conversations between Robert and his co-stars Richard Dreyfuss (Alex Brightman) and Roy Scheider (Colin Donnell). Despite set designer Duncan Henderson's remarkable recreation of the Orca, the movie's barely seaworthy boat, hardcore Jaws fans might feel as if they've been bait-and-switched, since, in the final tally, they only get one early image of a not-so-ominous shark fin to satiate their thrill-and-chill-seeking expectations. In keeping with what's on the marquee, it quickly malfunctions, sinking into video designer Nina Dunn (for PixelLux)'s vast ocean backdrop, never to be seen again. [more]

Songs for a New World

July 2, 2018

The unison of Jason Robert Brown’s accomplished score, Kate Whoriskey’s exciting direction and Rennie Harris’s vibrant choreography make this New York City Center Encores! Off-Center’s revival of his 1995 debut show "Songs for a New World," a dynamic theatrical experience. Mr. Brown’s surprise appearance at the piano to play a song in the second act was electrifying. [more]

The New York Pops: The Musical World of Lerner and Loewe

October 18, 2016

Music Director/Conductor Steven Reineke chose three fine singers, Colin Donnell, Laura Osnes and Nathan Gunn, to animate the Lerner and Loewe songbook, along with the terrific choir, Essential Voices USA (Judith Clurman, Music Director). They, plus the lusty sounding New York Pops, brought songs from "Camelot," "Paint Your Wagon," "Gigi," "Brigadoon" and, the biggest hit, "My Fair Lady" to life. [more]

The New York Pops at Forest Hills Stadium with Sutton Foster

August 11, 2015

“The epitomy of a true triple threat performer,” was how Mr. Reineke introduced Ms. Foster. “I’ve never been here or sung outside with a big orchestra before” was her sweet response to the huge audience response. First clad in a slinky blue dress, she later changed into a tailored gray tunic and then into a striking black gown with rhinestones. Her versatility was ever present as she opened with the thrilling Duke Ellington collaborative composition, “I’m Beginning to See The Light.” Then it was on to rollicking renditions of “Anything Goes” and “I Get a Kick Out of You,” from that Broadway revival for which she won her first Tony Award. [more]

Lady, Be Good!

February 6, 2015

One of the chief pleasures here is the first appearance in more than 30 years by the legendary Tommy Tune in a New York City musical. Since his Tony Award-winning leading role in the Broadway Gershwin revisal, "My One and Only" in 1983, he’s directed, choreographed, made special appearances, toured in musicals and periodically performs a nightclub act. He plays an entertainer at the garden party and at the hotel. In a three-piece red neon suit, he sings and taps “Fascinating Rhythm” solo and then with the ensemble. In the second act, he’s in a blue neon suit and a straw boater with a blue bird on top to sing and tap “Little Jazz Bird.” After leaving the stage, he pops out from the wings, doffs the hat, revealing a gold star inside. It’s symbolic as he embodies the old time, unique star quality Broadway is known for. [more]

Violet

May 2, 2014

An interesting and touching early musical from the composer of "Shrek," "Caroline, or Change," and "Fun Home." It may be in keeping with the notional scar, but sometimes "minimalist" fades into "generic." An inherent problem with the show, it's possible that even a small Broadway house like this one (740 seats) will always be too big. The climactic sequence, following Violet's discouraging experience in Tulsa, takes place mostly in Violet's head and as such is almost unstagable, and in any case hard to understand. Last and most problematic is that these soldiers react relatively casually to Violet's allegedly repellent deformity. [more]