Michael Urie

Once Upon a Mattress (New York City Center Encores!)

January 30, 2024

Of course, in true American musical theater form the elegant Princess has been transformed into the bedraggled and uncouth Winnifred (Foster, in her best goofy guise, proving her talent knows no boundaries). Winnie answers the call to audition to be the bride of the equally goofy Prince Dauntless (Michael Urie, funny, but hampered by his material’s lack of sophistication while taking a busman’s holiday after recently departing from "Spamalot)". The marvelously imperious Harriet Harris plays Dauntless’ mother, Queen Aggravain married to the mute, but highly communicative King Sextimus the Silent (David Patrick Kelly, adorable). [more]

Spamalot

November 20, 2023

Still, whatever faint accommodations he grants it, for Idle, structure is the enemy of joy, which every aspect of "Spamalot" is relentlessly intent on delivering, not only from a few well-performed and well-known old Monty Python bits (the Knights Who Say "Ni!"; the French Taunter; the Black Knight) but also through amusing allusions to classic Broadway musicals that Aaron Sorkin was never given the chance to ruin. To be sure, it is fan service on a couple fronts, forming a Venn Diagram highlighting anyone who adores, for example, how Idle's brainy, irreverent silliness transforms Stephen Sondheim's song "Another Hundred People" from "Company" into a running plague count. It takes incredibly varied abilities to appealingly belt out Sondheim while landing that joke, which Ethan Slater, as the dejected Prince Herbert, does impressively and without remotely shortchanging either responsibility. [more]

Jane Anger

March 8, 2022

Puns, witty repartee, double entendres, verbal wordplay out of Abbott and Costello, sight gags and slapstick all abound in playwright Talene Monahon's zany, edgy and accomplished historical comedy, "JANE ANGER or The Lamentable Comedie of JANE ANGER, that Cunning Woman, and also of Willy Shakefpeare and his Peasant Companion, Francis, Yes and Also of Anne Hathaway (also a Woman) Who Tried Very Hard." During a breezy 90 minutes, four offbeat characters cavort in a room; laughter is plentiful. [more]

Chicken & Biscuits

October 18, 2021

Douglas Lyons’ new comedy, "Chicken & Biscuits" introduces us to the dysfunctional Jenkins/Mabry clan at the funeral of its patriarch Bernard, the former pastor of his New Haven church. Among the various glitches are the arrival of an uninvited family member and the appearance of the gay boyfriend of the son. Sound familiar? The new wrinkle in this Broadway play is that the family is Black. While the formula may be time-worn and familiar, Lyons’ play directed by Zhailon Levingston (also making his Broadway debut as the youngest Black director in Broadway history) is fast-paced and generally bright and appealing. Veteran stars Norm Lewis and Michael Urie lead a fine cast that includes the Broadway debuts of five performers who may be familiar from television, film or Off Broadway. [more]

Grand Horizons

February 10, 2020

Bess Wohl's "Grand Horizons" opens with a pas de deux of marital inertia as Nancy (Jane Alexander) and Bill (James Cromwell), two near-octogenarians wasting their twilight days in a so-called independent living community, wordlessly go through the motions of sitting down to dinner. Their silence, and apparently 50-year marriage, are finally both broken when Nancy dispassionately declares that she "would like a divorce" and with equal nonchalance Bill responds, "All right." Confidently staged, or rather choreographed, by director Leigh Silverman, it's an extraordinary scene that, in truth, could stand alone as its own very brief play with the audience, possibly to its experiential chagrin, imaginatively filling in everything that came before. [more]

A Bright Room Called Day

December 1, 2019

Maddeningly alternating between being an absorbing historical drama and a grating exercise in self-indulgence, "A Bright Room Called Day" is author Tony Kushner’s reimagining of his 1985 first play. “It never worked” states a character regarding the play. It still doesn’t, but parts of it are entrancing. In contrast to his gargantuan two-part opus, "Angels in America," this runs a tolerable two hours and 45 minutes including an intermission. [more]

High Button Shoes

May 20, 2019

But, fear not! The Encores! creative team—director John Rando, music director, Rob Berman and choreographer Sarah O’Gleby—found a terrific cast led by Michael Urie in the Phil Silvers’ role of Harrison Floy and Betsy Wolfe as (Mama) Sarah Longstreet, Nanette Fabray’s role (which featured the earworm ditty “Papa, Won’t You Dance With Me?”). [more]

ON THE TOWN… with Chip Deffaa, January 6, 2019

January 6, 2019

No one loves Berlin's music more than I do. But the creators of this stage adaptation have tried to jam too many well-known songs into the show. I think that cutting a couple of the songs, and letting characters talk a bit more would give the show a more natural feel, and give it some needed moments to breathe. And help us bond more with characters. And if you want to add a song to express the characters' feelings, pick the very best songs for the scene--not just the best-known songs. [more]

Nassim

December 25, 2018

In the course of this unusual performance piece, the actor and the audience learn a bit of Farsi, the author’s native language, and actor and author share stories of their lives and likes, and become friends. There is audience participation and volunteers are called for. The playwright eventually joins the actor on stage but remains silent, communicating by pointing to the script which is projected so that the audience can see the author’s questions and instructions to the actor. The play is a series of exercises, games and tests. [more]

Torch Song

October 28, 2017

While superficially poignant, "Torch Song" remains what it always was: a fierce play about the need for respect as a gay person, when it was painfully more difficult to come by acceptance, let alone respect. And to that extent, it may seem like a dated work, wedded to when it premiered as three one-act plays that were then put together as one, more than three decades ago. It’s still just as moving and tear-provoking as it comes to focus on a gay man whose mother (“the Sylvia Sydney of Brighton Beach”) has to cope with his adopting a young son. With the marvelous Urie and the always-superb Mercedes Ruehl as the mother, how could anything go wrong? Nothing does. [more]

The Government Inspector

June 2, 2017

Director Jesse Berger’s fast-paced staging is an exuberant amalgam of physical and verbal virtuosity combined with visual flair. A highlight is a crowd of characters hurrying into a closet and popping out one by one that’s out of a Marx Brothers movie. There’s also the spectacle of a group of bearded, shabby villagers of various heights storming The Mayor’s house in their flowing garments. [more]

Homos, Or Everyone in America

November 9, 2016

The pomposity of the Tony Kushner-style title extends to naming its leading characters “The Academic” and “The Writer.” They’re two gay men in their late 20’s and the play charts their meeting, relationship, breakup and aftermath. This is accomplished by a dizzying structure of non-linear, rapid-fire, time shifting brief scenes. This intrusive device undercuts emotional involvement with the couple, as all of the jumping around of the narrative becomes artificial, repetitious and uninvolving. The period covered ranges from 2006 to 2011. [more]

Shows for Days

July 13, 2015

The production, directed with oddly erratic pacing by the experienced Jerry Zaks, stars the imperious Patti LuPone as the acidly ambitious Irene, the doyenne of a theatrical troupe in Reading, Pennsylvania, in the early Seventies. Wide-eyed, always ebullient Michael Urie, as Car, Beane’s stand-in, becomes her acolyte/scene painter/receptionist/new playwright in the process of discovering a world his suburban existence never hinted at. He is the author’s glib stand-in who keeps the audience in the loop with apt descriptions, editorial comments and sexual confessions. [more]

ON THE TOWN with Chip Deffaa, March 31st, 2015

April 1, 2015

Of course, not everybody in the arts who has potential will stick with it. There’s a high rate of attrition in the arts. The stresses and strains of pursuing a career will be too much for many people. One must have not just talent, but energy and drive and determination, plus a certain stubborn kind of stick-to-it quality that is simply all-too-rare. And you also have to be a risk-taker, with an instinct for knowing when to move out of your comfort zone and take the chance on something that excites you, even it may appear risky. [more]