Joan Marcus is one of the preeminent theatrical photographers working in the US today. Over the past 25 years she has photographed over 500 shows on and off Broadway and regionally. A native of Pittsburgh, Pennsylvania, Joan graduated from George Washington University. In 2014 she received a Tony Honor for Excellence in the Theater. Joan Marcus is married to the theatrical press agent Adrian Bryan-Brown of Boneau/Bryan-Brown, a leading Broadway press agency. http://www.joanmarcusphotography.com/
I’ve always felt my father (Herschel) very present in my life, and I think because in a lot of ways he left behind a pretty wonderful legacy--and there were a lot of people who adored him--I grew up with a lot of different people telling me stories of how great he was. And so I think I always had such a positive vision of him that I always felt like he was looking out for me. [more]
Aside from the obvious misogyny of Shakespeare’s comedy for modern audiences, there is the problem of the heroine’s unpalatable final speech in which she berates women for not being more subservient to their husbands. Lloyd’s solution is to frame the play as a country-western beauty pageant to choose “this year’s Miss Lombardy” whose emcee sounds an awful lot like presidential candidate Donald Trump. In fact, there is a good deal of satiric political talk with comedian Judy Gold as suitor Gremio doing an interpolated monologue complaining that the director is a woman and that “we’ve got a broad running for President.” [more]
Gregory S. Moss’ "Indian Summer" at Playwrights Horizons is an uneasy mix of two stories, the first about the doomed romantic encounter between two teens and the second concerning the quiet existential suffering of an elderly man. Despite sudden shifts of tone, Moss manages to leave the audience feeling deeply for each of these characters. [more]
"Paramour," the Cirque du Soleil’s stab at producing a Broadway style musical at the Lyric Theatre, is the circus equivalent of a jukebox musical. Instead of songbook—Beach Boys, Four Seasons, Carole King, etc.—this show is a panoply of circus shtick: juggling acts, trampoline chases, trapeze acts, contortionists, teeter board high fliers, etc. Although the circus bits aren’t truly integrated into the overblown plot—a rather silly "42nd Street"/"A Star is Born"/"Red Shoes" mash-up—it’s great to see the Cirque du Soleil performers in any context, but why the creators couldn’t dovetail the wonderful circus bits with an intelligent plot, is a mystery considering all the money that clearly went into "Paramour." [more]
Stew and Ms. Rodewald’s command of the musical genres of the 1960’s and 1970’s—gospel, Motown, soul, glam-rock, funk, R&B, blues, etc.—is astounding. The songs are organic extensions of the dialogue. In fact, this show could easily have been a straight drama or a sung-through opera. [more]
As with many CSC productions, the modern dress costumes (here designed by Ann Hould-Ward) are entirely in black and white. A small handful of props are used (a tin of buttons, an onion) but the production is basically reduced to its dialogue and story. Since there are no breaks of any kind, the scenes segue one into another without transitions. As a result the audience has to stay focused on the play or it finds itself somewhere new and doesn’t know how it arrived there. The lighting design by Jane Cox alternates between light and dark without creating much atmosphere on the empty stage. [more]
Although Quiara Alegría Hudes’ "Daphne’s Dive" follows the lives of seven fascinating people for whom Daphne’s North Philly bar is their true home, it is no "Cheers" and definitely no "The Iceman Cometh." No, "Daphne’s Dive" is a far gentler affair than either of those and more fearless for its gentleness. The seven people in this working class bar and grill affect each others’ lives as the play takes them from 1994 to 2011—and the audience is changed along with them. [more]
Ms. Errico gives a smashing musical theater performance. Her gutsy broad that’s tough on the outside and unraveling on the inside characterization is quite captivating. Her singing of several of the wan attempts at showstoppers exhibits her charismatic range. It’s definitely a case of a performer elevating weak material with their talents. Her commitment is as intense here as if she were playing either Sally or Phyllis from Follies particularly for the boozy ode to self pity, “Everyone Loves Leona.” [more]
Meet Sam, a struggling New York actor whose day job is as the reservationist for a popular albeit fictional Manhattan restaurant. Seemingly surrounded by phones at every turn, Ferguson’s Sam has devices that connects him to the chef, the hostess, his manager, as well as to the outside World and those looking for a much sought after reservation. Demonstrating a full spectrum of physical and vocal capabilities, Ferguson manipulates his body and voice to bring to life the many characters that Sam interacts with over the phone. [more]
The problem with the new show with a libretto by first timers Claudia Shear and Tim Federle now at the Broadhurst Theatre is that it is all so bland - which is not true of the novel which had grit as well as many surprises. The new prologue pretty much gives away the secret of the Tuck family’s discovery of the fountain of youth. The score by Chris Miller and Nathan Tysen (who wrote the Off Broadway musical 'The Burnt Part Boys") is pleasant but innocuous. Director/choreographer Casey Nicholaw who currently has the more flashy "Book of Mormon," "Aladdin" and "Something Rotten!" simultaneously running on Broadway has created a low-key production, atypical of his usual style, which seems a bit lost on the big Broadway stage. This might have worked better in a smaller Off Broadway house. [more]
Jessica Lange and Gabriel Byrne joyously enter through a porch door after the sounds of the ocean have been heard. Their love and attraction for each other is palpable. Mr. Byrne embraces her and with his Irish accent says, “You’re a fine armful now, Mary, with those twenty pounds you’ve gained.” It is instantly clear that this revival of "Long Day’s Journey into Night" is going to be beautiful. [more]
Florian Zeller is the most famous French playwright you probably never heard of. He won France’s highest theatrical honor, the Moliere Award, in 2011 for his play, "The Mother," and the Moliere Award again in 2014 for "The Father." This last named international hit is currently running in both Paris and London with major stars in the leading role. Manhattan Theatre Club now brings the Christopher Hampton translation to Broadway with Frank Langella in the title role. As André, an 80-year-old man beset with dementia in which his reality keeps shifting, Langella turns in a virtuoso perform but you won’t be bored for a moment. [more]
On stage, Birbiglia’s presence differs significantly from that of his fellow comics. It is no exaggeration in referring to Birbiglia as a soft-spoken individual, a term not often associated with a stand-up comedian. Birbiglia embraces his subtlety as his calling card, and this unique quality is the trait that differentiates his style from that of others. Further, because of the way he controls his onstage presence, when he does raise his voice or get particularly physical, it is even more effective as a result. This style paves the way for many different forms of comedy and jokes along the way, thus keeping the show free of any break in pace or monotony. [more]
An opportunity to see the luminous Academy Award winner Lupita Nyong’o live on stage may be the reason most people are rushing to the Golden Theatre, but, thrilling as that may be, "Eclipsed" is its own reward, a starkly detailed, microcosmic observation of just one ghastly corner of a ghastly civil war. [more]
Tarell Alvin McCraney’s "Head of Passes" is an advance over his earlier work seen in New York ("The Brother/Sister Plays," "Wig Out," "Choir Boy") in its attempt to take on bigger themes and archetypes. In creating the role of Shelah, he has put on stage a magnificent role for an actress of tremendous gifts. Phylicia Rashad rises to Greek tragic heights required by Shelah’s plight. However, the meaning and message of the play remains obscure and tends to leave the audience outside of the play’s dramatic action. We watch mesmerized in horror as events unfold, but why they are happening and what is the underlying cause remains a mystery. [more]
Rachel Hauck’s scenic design is the most outstanding feature of the interminable "Antlia Pneumatica." Ms. Hauck accurately and vividly represents the Texas ranch setting by an elaborate kitchen counter top in the center of the bare stage that is surrounded by shrubbery. It’s very functional as much of the activities involve preparing a feast. [more]
Thomas Kail (one of the geniuses behind Hamilton) has staged the world premiere of Sarah Burgess’ riveting "Dry Powder" in as cool a fashion as Rachel Hauck’s cobalt blue set with its cubes and rectangular modules that are rearranged for the various scenes by stage hands dressed as stockbrokers. This A-list cast best known for their television roles, along with talented Sanjit De Silva as Landmark’s moral CEO, give us indelible, full-bodied performances. Making his Broadway debut after his eight seasons on "The Office," Krasinski (sleekly dressed in Dior and Ermenegildo Zegna) is the idealist who wants to make the world a better place for his wife and daughter and new child on the way, although he likes his job which makes it possible for him to own a yacht. He has promised Jeff (Sanjit De Silva), the CEO for Landmark, that none of his employees will lose their jobs. All our sympathy goes to him. [more]
Scott Ellis’ direction avoids caricature, even in the most broadly drawn characters like the man-hungry Ilona, the gigolo Steven and the scared, but pragmatic clerk Sipos. He make the one touch of melodrama, involving Maraczek’s marriage, seem human and a touch tragic, helped by Mr. Jennings subtle, but exuberant performance. He also draws a tender performance from Ms. Benanti who gets to use the more operatic part of her marvelous voice. [more]
"Hungry" is both an occasional play (written for this moment in time) and a chamber play. Not much happens but a great deal is implied. It will not please all theatergoers. However, it will be interesting to see how Nelson develops the next two plays in the series, "What Did You Expect?" and "Women of a Certain Age," with the same actors. Demonstrating their expertise, the cast is real enough to make you think they are not performing. [more]
The play is made up of a series of six confrontations in which the dialogue is delivered like bullets flying back and forth. While the story is engrossing, the individual conversations all go on a bit too long, and get tiresome before they are each over. Then the next one takes us by surprise all over again. However, what is unique about the play is that the athlete in question eventually is seen to be a monster. His sense of entitlement has been overwhelming: he has expected his lawyer brother to get him out of trouble each time he got himself into another mess, and his brother has been supporting him all these years, paying all of his bills but with a family of his own to provide for. But worst of all is Ray’s absence of a sense of morality in a culture where winning is everything. He is willing to kill for fame and fortune and whoever he destroys along the way does not concern him. [more]
The family tension is defined in terms of the strong female relationships between mother Marvelous (Tamara Tunie) and the bride-to-be, who differ when it comes to wedding plans as well as the bride and her younger sister, Nyasha (Ito Aghayere) who clash over lifestyle choices. Big sister is the accomplished, serious professional woman who is strongly tied to her religious beliefs and customs, and the free-spirited little sister (who wasn't even asked to be a bridesmaid) who is tired of being berated for her choices. Tendi looks more to her aunt from Africa for guidance than her mother and is determined to have her look upon her choices as favorable. The source of comic relief in Familiar is Donald, the father (played by Harold Surratt), who sits back observing all the conflict and tries his best to take it all in stride. This family is one for the ages and how they deal with each other and common familiar issues is something all audiences can relate to. [more]
The audience for "Angel Reapers" is immediately immersed in the Shaker world, forced to cross the set—simple board floors, ladder-back chairs, a couple of windows and doors—en route to the seats. Several cast members are already in place. As more characters saunter on and take their seats, men and women on opposite sides, an infectious laughter spreads improbably through the cast before hymns are sung and a long list of proscribed activities is chanted. They also express delight in the “gifts” they contribute: “I have the gift of gathering eggs;” “I have the gift of reaping hay;” etc. [more]
Television and film actor Timothée Chalamet (Showtime’s "Homeland" and Christopher Nolan’s "Interstellar") makes an impressive New York stage debut as the play’s young protagonist. The role is almost too small to contain his bigger-than-life portrayal: kinetic, animated, provoking, questioning, vital, dynamic. His moods turn on a dime and he can shift from being a sophisticated adult back to being a little boy in a moment. Tall and lanky, he suggests the author but as he must have looked back in 1965. Also making his Manhattan Theatre Club debut, David Potters as his roommate Austin is tremendously sympathetic as a young man afraid of breaking the rules who has led a very sheltered life up until now. [more]
Do not expect an exact reproduction of the original which after four revivals is probably to the good. With the consent of lyricist Sheldon Harnick, the only surviving creator, Sher has added a prologue and an epilogue that is new. When the curtain goes up, Burstein dressed in a contemporary parka is standing near an abandoned railway station in Anatevka reading from a book (the original Sholom Aleichem stories? a guide book?) and then he removes his coat revealing that he is in Tevye’s costume and joins the opening scene back in 1905. At the end of the musical, Burstein again in the contemporary parka joins the line of refugees leaving the town on their way to the border and picks up Tevye’s cart. The modern relevance to the current situation in Europe and in the Middle East is made patently clear. [more]
While Frayn’s roles are juicy parodies of very specific kinds of people, for the laughs to roll in one on top of the other, the play must be performed fast enough that we don’t have time to think about it or what we are laughing at. Consequently, though the production is entertaining for its comic portrayals, it fails to trigger all the laughs inherent in the script or become the laugh riot it is intended to be. Possibly, as the actors have more performances under their belts, the play may pick up speed and more laughs along the way. [more]
Linda Lavin wears Anna in Richard Greenberg’s "Our Mother’s Brief Affair" like a chic couture outfit with many layers each of which reveals layers of colorful, woven cloth. There is a constant glow about her as she relates, mostly in flashbacks, the story of an illicit, but exciting affair with a stranger she met many years ago while waiting for her son, Seth (a bemused, but effective Greg Keller) to emerge from his Juilliard viola lessons. [more]
This Grand Guignol concept is sensationally realized by the striking physical production. John Gromada’s chilling sound design configures his spooky original score with its dominant organ along with bomb blasts and other sound effects for very effective results. Cameron Anderson’s scenic design is a dazzling haunted house affair with the stage wall covered in tiny bones and skulls, a ladder and ramp for the creature to scamper on, and manor-style furnishings. Hellish red hues are prominent features of Jesse Klug’s eerie lighting design. [more]
Arthur Miller is having a great posthumous 100th birthday! "A View from a Bridge" opened on Broadway to sensational reviews to be followed soon by "The Crucible." Now a revival of "Incident at Vichy," his frightening, microcosmic examination of Nazi-occupied France during the height of World War II, is enjoying a fine revival at the Signature Theatre. While the first two plays are each experiencing radical re-assessments, the director of Vichy, Michael Wilson has opted for a straight-forward, naturalistic interpretation in which each character exists as a finely etched portrait and the set (by Jeff Cowie) is a real, frightening place down to the period French newspapers plastering the holes in the windows. [more]
It was inevitable that legalized gay marriage would lead to plays about gay parenthood. "Dada Woof Papa Hot," Peter Parnell’s sweet-natured, but frustratingly narrow-focused, new play at the Mitzi E. Newhouse Theater explores the kind of child rearing issues formerly supposedly experienced only by straight couples, at least straight couples with large bank accounts. To bring the theme of gay marriage further into the mainstream, divorce also rears its ugly head. [more]
Admittedly, many of the ideas in the play are hardly new or revolutionary: the first measures to limit the scope of the British monarchy’s power date back to the 1215 Magna Carta and subsequent arguments challenging the divine right of kings include the American Declaration of Independence, drafted in 1776. Rather, this production’s merit lies in the shocking immediacy it brings to the subject. Acutely aware of the fact that the nearly 90 year-old Queen will not live forever, Bartlett takes us into a not-too-distant future where the inevitable change of the empire’s figurehead sends the nation into a state of upheaval. His England is just melodramatic enough that to allow us to see it as fictional yet a shade too realistic to feel truly dystopian. [more]
The title refers to three generations of women whose lives have been derailed by early pregnancies. When the play begins, we are in the modest home of embittered, single mom Maggie (Perabo) who is late for work at the Bloomingdale outlet during a nor’easter when she finds that her car has been stolen. When she also discovers that her daughter Erica hasn’t been to school that day, she realizes that her car hasn’t been stolen but taken by her daughter who it turns out has a boyfriend her mother knew nothing about. However, Maggie can’t afford to lose her job - or her mortgage - as her cushion this month is all of $23 and she is a “pizza an’ a six pack away from bouncing the electric bill.” This is life on the edge of subsistence for many Americans. [more]
For the first half of Stephen Karam’s “The Humans,” the Blake family Thanksgiving seems to be nothing but a banal seasonal gathering. And then suddenly the author’s message comes into focus and the play becomes a haunting drama and unnerving ghost story which is unlike anything you have seen lately. The superb cast headed by Reed Birney and Jayne Houdyshell under the direction of the always interesting Joe Mantello who has piloted many important new plays turns The Humans into a memorably unique experience. Karam, whose plays include Speech and Debate and Son of the Prophet, has been given a splendid Roundabout Theatre Company production for its third premiere of one of his plays. [more]
Directed with comfortable assurance and a leisurely sense of timing, this "Sylvia" benefits from a (mostly) strong cast, including three Tony Award winners: Matthew Broderick (whose wife Sarah Jessica Parker played the title role in the original off-Broadway production), Julie White and Annaleigh Ashford. The brilliant, versatile Robert Sella who expertly and drolly plays three diverse roles, rounds out the cast. [more]
