News Ticker
- December 16, 2025 in Broadway // Marjorie Prime
- December 14, 2025 in Broadway // Oedipus
- December 14, 2025 in Interviews // Conversation with Dominick LaRuffa Jr.
- December 14, 2025 in Off-Broadway // The Surgeon and Her Daughters
- December 14, 2025 in Features // A Seasonal Salon Worth Noting
- December 13, 2025 in Off-Broadway // BUM BUM (or, this farce has Autism)
- December 12, 2025 in Musicals // The Faggots and Their Friends Between Revolutions
- December 12, 2025 in Cabaret // Mary Foster Conklin — Mirrors Revisited (50th Anniversary)
- December 11, 2025 in Cabaret // Kathy Kaefer — Kiss Me Once: Stories from the Homefront
- December 11, 2025 in Off-Broadway // The American Soldier
- December 9, 2025 in Off-Broadway // This World of Tomorrow
- December 9, 2025 in Cabaret // A Noel Coward Celebration — Steve Ross & Friends
- December 7, 2025 in Off-Broadway // Diversion
- December 5, 2025 in Off-Broadway // Meet the Cartozians
- December 5, 2025 in Features // Tom Stoppard: An Appreciation
Archive
Although meaningful dialogue is written in iambic pentameter, not all text is so structured. There is a skill in delivering lines within the structure of iambic pentameter, but it is equally important that the rhythm of all the dialogue be consistent. The lines must be spoken as if they were a normal speech pattern without paying attention to the structure. Unfortunately, the delivery by the ensemble varies widely, ranging from sounding like a textual reading to a clear, direct delivery to one completely out of character for the words spoken. As a result, the interconnections between the elements of the story are lost, causing a breakdown in clarity.
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However, instead of telling Fleming’s story in chronological order, it travels backwards and forwards in time beginning with Fleming’s Nobel Prize acceptance speech in Stockholm in 1945, then skipping to Athens, Greece, in 1952, then traveling back to New York and London’s St. Mary’s Hospital in 1946, then further back to St. Mary’s lab in 1940, and finally ending Act 1 with Fleming’s discovery of penicillin at St Mary’s in 1928. Not only does all this alternate with the Jess/Aaron story in Edinburgh in the present, it often divides the stage in two and tells both stories simultaneously. There seems to be no gain in telling Fleming’s story out of order, as it makes it confusing and hard to follow, while asking us to keep track of the contemporary story with its permutations and additional characters at the same time.
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The revue alternates between skits by James Hindman and Lynne Halliday and songs with music by Jeffrey Lodin (who is also the music director at the piano) and lyrics by Mark Waldrop, the intrepid director. While the material is diverting and entertaining, it feels derivative rather than original. There appears to have been an attempt to not offend anyone so that everything is rather low key and tame. Some of the tropes though pertinent have already been dramatized: “To You, My Friend,” sung by two women at a college reunion, resembles but feels like a pale imitation of Jerry Herman’s “Bosom Buddies” while “Gonna Get the Band Together” suggests the 2018 Broadway musical with a similar name. “Reunion” in which two old friends reminisce has too much the feel of a "Saturday Night Live" skit.
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"Hurricane Season" is the sort of vanity production in which one assumes that the author thinks he or she has invented the next step in the avant-garde. Unfortunately, Estes’ production will give most theatergoers a headache attempting to follow his play as well as the unnecessary flashing video. Whatever the play wants to say about “erotic desire and national anxiety,” it is lost in the proceedings on stage. Incidentally in the cause of transparency, Hurricane Season is not the least bit erotic though there is a certain amount of simulated sex.
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Tarlton’s work is not without promise. As a social critique of people who are surgically attached to their smartphones, it is somewhat spot-on. (Heaven forbid we miss that recent post documenting what was ordered in the latest restaurant!) At points when actors were immersed in their phones rather than looking at or speaking to each other, the silence of audience realization, or rather revelation, was deafening.
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Even those who are not necessarily fans of the theatre will find it difficult to deny the talents of the actors on stage. There are also a handful of themes that provide a truly engrossing experience from the perspective of the viewer.
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Foster is a joy as the princess from the swamps who can swim, lift weights, dance all night, commit multiple contortions as she tries to get a good night sleep, and field any disaster that comes her way including the queen’s disdain. She is quick on her feet and in her tongue. She also stops the show with her rendition of the score’s most famous song “Shy” (used as the title to Mary Rodgers’ memoir published in 2022) but she is also memorable singing “The Swamps of Home” and “Happily Ever After,” with their witty lyrics by Barer, who often collaborated with Mary Rodgers. Is there anything she can’t do and anything she can’t make funny?
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Doménica Feraud who has also written "Rinse, Release" has made a career of writing about very human psychological problems. While "Someone Spectacular" is rather untheatrical in its presentation as there are no fireworks which you might have expected in the situation, the characters become more absorbing as we get to know them, their stories and their problems. Not only is it all very real but it is easy to identify with one or the other as we all have gone through some loss in our lives. Tatiana Pandiani’s direction is smooth and fluid if a bit too serene. Some may also find the play comforting if they are going through the same thing or have suffered a loss recently. For the record, that title is explained near the end when Thom states “I lost someone spectacular” which how all the characters feel about their losses.
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"Odd Man Out" takes what is essentially a radio drama and puts the audience within the physical context of the story. You can hear the characters moving. You can smell the flowers in the garden or the blooming tree in the yard. You can hear and feel the rain. It is a sensory augmentation of what was once only an aural experience. Smelling a rose is no longer an act of imagination but one of immediacy, and that enhances the suspension of disbelief that an audience undergoes to make them actual though passive participants in the action of the story.
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"Airport and the Strange Package" effectively combines good old-fashioned paranoia with witty references to Kafka’s classic. King and his collaborators have fashioned a frightening but entertaining portrait of airport security gone crazy. After all, what modern traveler hasn’t feared the awesome, if arbitrary, power of the Transportation Security Administration?
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Max Wolf Friedlich's "Job" starts out with a bang or, more accurately, a near bang that elicits a couple of immediate worries: first, something awful will happen to a seemingly benign character and, second, a potentially overreaching playwright does not have anywhere dramatically to go after such a skillfully crafted throat-grabber. While the stress of the former concern rises and falls and rises again, the sense of foreboding from the other one eventually fades away as the thoughtful depths of Friedlich's compact, mind-bending two-hander become increasingly apparent. Given this gradual profundity, Job is the rare work that genuinely rewards repeat attendance, an opportunity undoubtedly appreciated by theatergoers who have seen Job in either or both of its off-Broadway stints during the past year (the play's world premiere at the SoHo Playhouse received an enthusiastic review from our Editor-in-Chief Victor Gluck).
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The dynamic and exciting dances include the five elements of voguing: catwalk, duckwalk, hand performances, floor performances and spins and dips in various combinations. The competitions which include almost every song are taken from real ballroom events and the names are appear on the rear wall over the glitter curtain in Brittany Bland’s projection design. These include Virgin Vogue, Pretty Boy, Realness, Body, Bizarre, Opulence, New Way Vs. Old Way, Labels, Women’s, and All American. One razzle dazzle competition is the Tag Team Performance to the song “Mungojerrie & Rumpleteaser” which pitted “knockabout clowns” Jonathan Burke and Dava Havuesca in matching costumes with ballerina Baby as Victoria and gymnastic Bryce Farris subbing for Primo as Tumblebrutus.
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"Memory" brought back “Untitled,” a masterpiece from 1978. This work had everything that made Pilobolus the world class dance troupe it became. Choreographed by Pilobolus founders Robby Barnett, Alison Chase, Martha Clarke, Moses Pendleton, Michael Tracy and Jonathan Wolken, and using disarmingly and misleadingly pleasant music by Robert Dennis, “Untitled” began with two women (Feliz and Klinkman) wearing ornate 19th century dresses as they lay on the ground having a pleasant picnic. (Costumes by Kitty Daly and Malcolm McCormick.) As they rose they slowly grew into giants, their legs clearly those of men. These now eight-foot tall women moved gracefully about soon joined by two fully dressed men (Loman and Langford) who flirt with them. As the two ladies were lowered onto their own legs, their supporters proved to be two naked men (Chaparro and Ellis), a bit of a shock to the audience, softened by the beauty of the two. The two women wafted about blissfully unaware of the four men until the naked men resumed their positions under the women’s skirts as they floated off. This combination of period nicety, nudity and psychology and superb movement made for a hauntingly memorable work.
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Seemingly not trusting the material, director Brian Mertes has used all kinds of stage gimmicks including having the two actors photographed live by a team of three videographers whose equipment runs on a track around one side of the stage while a huge screen covers the second half on which we see the actions of Wood and Curran blown up to one story high. (Aside from the distraction, those who sit in the audience on stage left may find this blocks part of their view.) The meeting at Trump Tower which precipitates the ostensible action is played by the two actors and six miniature (nude!) puppets by famed designer Julian Crouch. At various points the two actors enter a booth in the back of the stage for no explained reason, as if in a session at the United Nations. There is also unexplained dancing and singing that seems to have little to do with the events at hand.
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The cast does a beautiful job interpreting their characters. Watson plays Reynaldo as an anxious, emotionally fragile person ready to fulfill their employer's slightest request. Moore imbues Jacques de Boys with the haughty imperiousness of someone who feels his position is one of substance and importance, even if only for a brief moment on stage. Ethridge puts an interesting spin on his Boatswain, giving him a laid-back, almost California surfer vibe. It is not quite what one may expect from a character in a 17th century play but the characterization provides an interesting contrast. Parks embodies the Stage Manager with a flat-affect, matter-of-fact efficiency as expected until she reveals an inner child excited about trying new ways of being. DeBoer gives The Messenger an energy and perspective that delivers the play's central theme by showing the other characters and the audience that it is possible to escape the limitations of a static definition of self and explore the wonders of imagination.
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When was the last time you saw a new play in which you cared about the characters and wanted them to end up together? "The Sabbath Girl: A New Musical" is that kind of show. A delightful and charming rom-com adapted by Cary Gitter from his 2020 play of the same name, "The Sabbath Girl" brings together two unlikely people from very different worlds, both at crossroads in their lives. With sensitive performances by Marilyn Caserta and Max Wolkowitz, lovely music by Neil Berg, graceful and emotional lyrics by Berg and Gittter, and a poignant story, The Sabbath Girl is a must-see this summer.
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"It’s Not What It Looks Like," is a two-hander, written by John Collins in collaboration with Chesney Mitchell. It is the winner of the 2023 Soho Playhouse Lighthouse Series competition for new plays. The play is a cleverly devised procedural drama that does justice to its title: somebody died, but the how and why are unknown. It is a mystery with which to spend a summer evening.
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The play doesn’t tell us enough about any of the characters which gives the actors little to work from. What does Lotte do for a living or is she a trust fund kid? As Lena Drake plays her, she seems totally adrift besides her hatred of her mother. While David Z. Lanson’s Demetrius is described as a professional (albeit failed) comedian, he has nothing to say that is very funny. The jokes tend to fall flat. Asking for drink, Demetrious says, “Anything you’d use on a medieval axe wound is fine.” As the entitled Esme, Laura Botsacos is self-absorbed, egotistical and unsympathetic. However, the author makes us think that she is the wisest one of all as she is usually right. It is she who says “At what point in life do we stop blaming mom?” - a statement the audience must be thinking as well. While James Andrew Fraser’s Clancy at first appears very dense, he does have a large vocabulary and catches many nuances, so he is not as dumb as he comes across on a first impression.
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I just got back from the Bucks County Playhouse, which I always enjoy visiting, to catch the world-premiere production of “Last of the Red Hot Mamas,” a new musical about Sophie Tucker. The show’s not ready for Broadway yet. It’s got lots of flaws which need fixing, and I’ll get to those flaws shortly. But—and this is rarer and much more important--it’s also got lots of vitality.
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So, this was all about the best-performing arts colleges in the London list. There are many scholarships available for theatre and drama in the UK. Furthermore, you can get in touch with private organisations and other government bodies that offer aid to students. Needless to say, you’ll have to practice a lot to emerge as a successful individual in the field.
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Actor Ryan Spahn’s first play "Inspired by True Events" at the new Theatre 145 (formerly the Ohio Space) is a professional, skillful production. Unfortunately, as a backstage thriller it leaves something to be desired. The first shock does not occur until two-thirds of the way through, making most of the play a simple waiting game for something to happen. What the playwright needs is to study classic stage thrillers like Emlyn Williams’ "Night Must Fall" and Frederick Knott’s "Wait Until Dark" to learn how suspense is built into this genre.
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María Irene Fornés’ rediscovered "La Viuda" is a valuable addition to her better known canon. It is a challenging play in that it is basically an 80-minute monologue with other characters in flashback occasionally interrupting Angela’s narration. Director Olga Sanchez Saltveit makes a fine case for this play with a spirited and lively production but she has not solved all of the play’s inherent problems. Performed in repertory with Sam Collier’s "A Hundred Circling Camps," "La Viuda' is a worthy part of Dogteam Theatre Project’s inaugural season.
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A Hundred Circling Camps, written by Sam Collier and superbly directed by Rebecca Wear, is a story based on the "Bonus March" of 1932. It is more than a play about a historical event. It is also a commentary on the nature of citizens exercising their right to assemble and petition the government to redress grievances, rights established in the First Amendment to the U.S. Constitution. It is a show worth seeing because of its story and the actors' performances. The Bonus March of 1932 was a demonstration by veterans of World War I asking that the financial promises made by the U.S. government be honored in advance of the original payment date of January 1945. The economic situation for people in the United States was desperate during the Great Depression, and the veterans, most with families to support, felt that the money promised would help them survive.
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"Bill’s 44th" is a story of loneliness told within the context of a birthday celebration. It is a wordless puppet show for grown-ups created and presented by Dorothy James and Andy Manjuck. James and Manjuck combine to inhabit Bill, a middle-aged man with a belly paunch and a paper-maché bald head with bushy eyebrows, a mustache, and deep, empty eye sockets. His legs are those of Manjuck, and his arms are those of James and Manjuck. It is a remarkable display of puppetry. Their collaboration brings emotional heft to the puppet with actions that are choreographed to perfection. Jon Riddleberger plays a supporting role as a pizza delivery man and later as the puppeteer of a human-sized dancing carrot stick.
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Jakob Karr conceived, choreographed and directed his full-length dance/drama, "Ain’t Done Bad" currently heating up the Irene Diamond Stage at the Pershing Square Signature Center just west of Times Square. It is a courageous, if generic look at the trials and tribulations of a young gay man confronting his inner demons and his hard-as-stone father.
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In "Empire," Caroline Sherman and Robert Hull attempt to tell a very big story but are unable to bring this unwieldy tale into suitable shape. The time traveling framework is both unnecessary and obtrusive. Both the historic characters and the fictional ones are underwritten and there are too many names to keep straight. While the music is catchy, the lyrics are often too unsophisticated and repetitious to make their mark. The cluttered setting and the busy staging don’t help to tell the story. "Empire" is an ambitious but unsuccessful musical which is defeated by its very form.
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Ehrenpreis’ "Clowns Like Me" is sad, but true, and with the help of writer and director Jason Cannon, the brutally honest tale finds all the humor that’s possible. Within a very few minutes we are introduced to all the tools to discuss an obvious manifestation of his obsessive-compulsive disorder: cleanliness. Out come the goggles, gloves, cleaning rag, spray bottle and his co-stars Swiffer and Dirt Devil in this elaborate Ginger and Fred dance to clean where the average person would see no dirt.
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Correa who for many years worked for Congresswoman Constance A. Morella knows his way around government and his characters are very convincing. The casting of Diane Paulus’ production is superb and Taylor and Villafañe make excellent sparring partners. The encounters which take place mainly in N’s congressional office that of first Minority Leader and then later Speaker of the House (the same set by Myung Hee Cho) include fast-paced repartee, quips, retorts and wordplay, all worth listening to. You are required to listen intently as the dialogue is fast paced and rapid fire. When we meet them A has just won her first primary in the Bronx and Queens, defeating the Democratic Party candidate that N has supported. In the course of the five scenes of the play, we next meet them when N needs A’s vote to regain the Speakership, while the last scene takes place four years later when the Republicans have regained the House and N is packing up her office, having stepped down from her position as party leader.
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"A Man Among Ye" is episodic, with flashbacks and confusing dialogue. It is filled with sword fights, sea shanties, revenge plots, mermaids, witches, and mythical creatures. As a highly stylized dark comedy, it misses more than it hits. Despite the claims that it is based on a true story, it is mostly fiction and fantasy and lacks consistent explication. It needs a more straightforward, consistent storyline, and, in several cases, there is superficial character definition and development. The cast does a respectable job of trying to make sense of a show that doesn't know what it wants to be.
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The film of Chip Deffaa's "George M. Cohan Tonight!"--with Jon Peterson reprising his highly acclaimed stage performance--is being released on the day that Cohan always proudly claimed as his birthday--the Fourth of July. "Some folks say that Cohan was actually born on the third of July," acknowledges Deffaa. "But Jon Peterson and I are offering this birthday present for the Father of the Broadway Musical on the day that he chose to celebrate. Happy birthday, George!"
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Visiting live theater cannot be compared to any other live experience; it's the captivating anticipation before the performance starts and the pure delight when actors immerse you in their story.
Theaters should not be equated with cinemas, as the latter often lack dynamism and are monotonous. Live actor movements on stage, genuine emotions, and unfolding stories right before your eyes simply cannot leave you indifferent.
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Berlin, incidentally, could not write music. He could play piano—not too well, and in only one key. He would play, sing, and hum songs that he created, which a musical secretary would then take down and put into written form for him. The typed lyrics that Shaw saved (with the words “you’re a dumb kop”) may have been typed by Berlin himself or may have been dictated by Berlin to a musical secretary. In any event, the songs “Angelo” and “It Can’t Be Did” have survived only because Lillian Shaw happened to be a “saver.” By contrast, Shaw’s good friend, Fanny Brice, for whom Berlin also wrote special material, was not a “saver.”
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"cunnicularii," beautifully written by Sophie McIntosh and sensitively directed by Nina Goodheart, is a fantasy that deals with many of the adjustments in attitudes and perspectives encountered by new parents. It is a fable focusing on the sometimes overwhelming physical and emotional issues faced by mothers on their first time into the world of motherhood. It is a beautifully realized drama, both funny and serious. If you enjoy good theater, with solid acting, it will be very much worth the effort to see this production. It will only be around for a short time, so make the time to see it.
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Copyright Jack Quinn, 2001-2023
