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Sam Pinkleton

Amélie

April 10, 2017

"Amélie" is frustrating. The characters exist as two-dimensional cartoons that a talented cast almost brings to life. The uneven rhythms and poor timing of the show bog it down. An inability to find stage equivalents for the film’s gimmickry also hurts. It does have a game cast who vie with undistinguished songs, choreography and staging. Finally, there is Phillipa Soo who radiates warmth amidst the disarray. [more]

Significant Other

March 17, 2017

It’s well constructed, the dialogue is snappy and filled with some funny one-liners. The milieu is that of upper middle class Manhattan white-collar workers. Moderately entertaining, it attempts to explore a prevalent societal issue, but is undermined by its off-putting main character and its rarified sensibility. There is minimal sex talk and that is mostly cute, rather then revelatory. Jordan rhapsodizes about a male co-worker’s body, but doesn’t extoll anything much below the waist. [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]

Runaways

July 12, 2016

The most remarkable thing about the Encores! Off-Center revival of the late Elizabeth Swados’ 1978 musical "Runaways" is that it is as fresh as when it was written almost four decades ago. The concert staging is perfect for this revue like show which deals with youthful alienation and abuse, making it feel extremely contemporary. Credit director Sam Pinkleton and a cast of 25 high-powered multi-racial and multi-ethnic performers, mostly New York City school children from 12 – 19. Among the performers are a deaf actor working in sign language (Ren), two actors who perform in Spanish (Claudia Ramirez and Joshua DeJesus), and a transgendered actress (MJ Rodriguez). It would not be hyperbole to say that among this cast are the stars of tomorrow. [more]