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Douglas Sills

Hey, Look Me Over! New York City Center Encores! at 25

February 10, 2018

Writer-performer Bob Martin recycles his sweater-clad disaffected “Man in the Chair” character from his 2006 Broadway musical "The Drowsy Chaperone." The conceit is that he’s a disgruntled Encores! subscriber who has been chosen to pick his selections for inclusion. Mr. Martin addresses the audience to offer commentary, often tells inside jokes and interacts with the cast.  Depending on one’s sensibilities, this is either an inspired or an insufferable device. However, it doesn’t mar the actual production. [more]

War Paint

April 27, 2017

Written by the same team that created the musical version of "Grey Gardens" (Doug Wright, book, Scott Frankel, music, and Michael Korie, lyrics) which gave Ebersole the two best roles of her career, the new show is absorbing, elegant and urbane hewing closely to the facts while at times compressing time and offering a few composite characters. Suggested by the joint biography "War Paint" by Lindy Woodhead and the documentary film, "The Powder and the Glory," the musical tells the parallel stories of the rivalry and careers of these two remarkable women from the 1935 to 1964. As they are never reported to have met, Wright’s book for the musical either alternates their lives or uses a split stage effect to show us both at the same time in their own milieu. Occasionally, they lunch at the St. Regis at the same time but avoid meeting each other seated on their own banquettes. [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]