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Matthew Bourne’s Swan Lake

February 5, 2020

“The legend returns” claimed the fliers and posters for "Matthew Bourne’s Swan Lake"’s short season at the New York City Center.  That proclamation wasn’t far from the truth.  "Swan Lake" is definitely Bourne’s most famous and prolifically performed work from a repertory that includes "Edward Scissorhands," "Sleeping Beauty" and "The Red Shoes," all having made touchdowns in New York City with varying success.  Only his "Swan Lake" has caught the imagination of audiences throughout the world despite its daring take on a beloved classic. [more]

A Soldier’s Play

February 5, 2020

David Alan Grier, Blair Underwood and Billy Eugene Jones in a scene from Charles Fuller’s “A [more]

Doctors Jane and Alexander

February 4, 2020

Additional credit can be given to Simon and Wolkowitz’s performances by the excellent supporting cast and Einhorn’s writing. The script's one weakness appears to be an insistence on providing an overabundance of mind-numbing facts about blood-type science, details which ultimately don’t lend themselves to the overarching tale of one man’s search for value and importance in his dreams, those of his family that came before him, and the question of whether he will leave anything other than a legacy of his children’s memories. [more]

Brecht: Call and Respond (an evening of three one-acts)

February 4, 2020

“Producing theatrical works that feature compelling stories created by emerging theater artists” is from the New Light Theater Project’s self-description. Their vastly and thoughtfully entertaining presentation, "Brecht: Call and Respond (an evening of three one-acts)" achieves that aim. Bertolt Brecht may not be an emerging theater artist, but the other two playwrights certainly are. [more]

PackRat

February 3, 2020

Writer and director Renee Philippi’s appealing scenario is simple, heartfelt and dramatic. It’s realized by Ms. Philippi’s supreme command of stagecraft that revels in theatricality. Designer Carlo Adinolfi’s awesome cutouts, handheld and shadow puppet creations individualize the animals with striking expressive details. Mr. Adinolfi’s stylized set pieces thoroughly convey the look of a rustic environment and his arresting projections visualize varying locales and the animals’ dreams. The production is enhanced by the perfection of Eric Nightengale’s atmospheric lighting and sound design. Composer Lewis Flinn’s energizing original music veers from jaunty to appropriately moody as it complements the piece’s actions and emotions. [more]

The New York Pops: “Find Your Dream: The Songs of Rodgers and Hammerstein”

January 31, 2020

The New York Pops’ latest concert, Find Your Dream, was a glorious tribute to nostalgia. Not only was it an evening of the beloved songs of Rodgers and Hammerstein with selectionsfrom all 11 of their collaborations, it also recreated a performance first presented five years ago by The Pops. The guests artists on the evening of January 24 were British musical theater star Laura Michelle Kelly (Broadway’s "Mary Poppins" and "Finding Neverland") first seen in a flaming red, off the shoulders gown and American musical theater star Max Von Essen (Broadway’s "An American in Paris" and "Anastasia") in a midnight blue jacket. Joining The Pops as usual was Judith Clurman’s Essential Voices USA who were an integral part of the show with the famous choral numbers. [more]

Really Really Gorgeous

January 31, 2020

"Really Really Gorgeous" has an often-amusing absurdist and surrealistic sensibility. Plot turns take on the illogical quality that exists in dreams or in kids’ games of “Let’s pretend.” For instance, at one point, Pen discovers that by curling her hand in a certain way, she can transform it into a magical ammo-firing “finger gun” that can be used as an instrument of destruction. This may seem like goofy stuff, but Mecikalski the allegorist has serious points to make here: about celebrity and despotism and about the swiftness with which the sentiments of a desperate, fickle populace can change. [more]

92Y Lyrics & Lyricists Series: E.Y. “Yip” Harburg: Follow the Fellow Who Follows a Dream

January 29, 2020

The 92nd St. Y’s Lyrics & Lyricists, one of New York’s leading propagators of the Great American Songbook, featured the witty and sardonic songs of E.Y. “Yip” Harburg in its most recent edition: "E.Y. 'Yip' Harburg:  Follow the Fellow Who Follows a Dream." Harburg, famous for writing the lyrics for "The Wizard of Oz" and "Finian’s Rainbow," wrote over 600 songs with many collaborators. The show gracefully explored his oeuvre and his life using the extraordinary talents of five fine singers and a superb band led by Paul Masse who supplied the often surprising orchestrations. They were helped by vivid projections by Dan Scully that showed New York City street scenes, theater marquees, historic programs and posters as well as photos of a genial looking Harburg who tried all his life to defy all the prejudices and inequities of his time and replace them with his complex and colorful lyrics that featured witty rhymes and references. [more]

Emojiland: The Musical

January 29, 2020

Smiling Faces, Skull, Princess, Pile of Poo and other notable emojis cavorting around might have made for a peppy contained sophisticated children’s show. The creators of "Emojiland: The Musical" however, have opted for a full-length treatment that sputters out by intermission as not much has happened and then we come back for more anemic hijinks. The meager plot involves a software update, a firewall, a virus, betrayals and some romantic complications all taking place in a smartphone fantasyland. [more]

My Name Is Lucy Barton

January 28, 2020

Laura Linney is never one to avoid a challenge. When she last appeared at Manhattan Theatre Club’s Samuel J. Friedman Theatre she was alternating in the roles of “Regina” and “Birdie” in the revival of Lillian Hellman’s "The Little Foxes" and won a Tony Award for Best Actress for her efforts.  Now she is back in an adaptation of Elizabeth Strout’s novel "My Name is Lucy Barton" where she plays both the title character and her mother and is the only performer on stage. Directed as she was in the London production by Richard Eyre, she beautifully captures the tone and voice of Strout’s heroine. [more]

The Transfiguration of Benjamin Banneker

January 27, 2020

The show was conceived, directed and designed by Theodora Skipitares. Her treatment of these biographical details is that of a fanciful saga with the awestruck tone of a children’s book. There’s a neat bit involving Lt. Uhura from the original Star Trek in her red uniform on a miniature Enterprise starship, recounting meeting Dr. Martin Luther King. Skipitares’ thrilling staging is in concert with the witty elements of presentation.  Many whimsical scenery pieces are suspended from the ceiling and are lowered and raised. [more]

Paradise Lost

January 27, 2020

When a playwright adapts a famous, well-known story for the stage the problem becomes how to tell it in a new way that makes it seem unfamiliar and fresh. Otherwise, why bother retelling it once again? Unfortunately, Tom Dulack’s "Paradise Lost," “inspired by the poem by John Milton,” retells the story of Lucifer’s fall from Heaven into Hell, and the eventual banishment of Adam and Eve from the Garden of Eden without any surprises. Using only contemporary language, Dulack’s play lifts the skeletal plot of Milton but lacks the poetry, as well as those elements which made this epic controversial in the 17th century (rejection of the divine right of kings, embracing divorce and marriage equality, etc.) It resembles a Sunday Bible sermon or dramatization meant for youth. [more]

Romeo & Bernadette: A Musical Tale of Verona & Brooklyn

January 27, 2020

"Romeo & Bernadette," a fresh take on Shakespeare’s oft-adapted tale of love, is an unabashed valentine to inter-era romance.  Shakespeare’s Romeo (cutie-pie Nikita Burshteyn, perfectly cast) is magically time-travelled to 1960’s Brooklyn to seek Bernadette (beautiful Anna Kostakis who plays both the foul-mouthed Bernadette and the demure Juliet), a striking doppelganger of his beloved sixteenth century Juliet.  There he meets members of two rival Italian mobs who substitute, 1960-style, for the Capulets and Montagues. [more]

How to Load a Musket

January 25, 2020

An essay more than a play, with players as opposed to characters, "How to Load a Musket" is a racist diatribe that fails to make its points coherently. The costumes and appointments on the walls of a black box space say all that there is to say in a play that ultimately leaves one wanting for more. The scenic design by Lawrence E. Moten III is the show’s best asset. [more]

The Woman in Black

January 24, 2020

Fog wafting, an empty rocking chair moving by itself, blackouts, ghostly apparitions and crashing music are all part of the spooky fun in "The Woman In Black." Scary moments, intriguing hokum and laughter abound as this inventively presented British theatrical thriller plays out. [more]

Timon of Athens (Theatre for a New Audience)

January 23, 2020

On paper the concept should not work: scenes and characters have been cut, a Shakespeare sonnet has been added set to music, as well as a Greek song, and four characters originally written for men are played by women. Nevertheless, the streamlining of this modern dress production in the edition prepared by Emily Burns and Godwin makes this tragedy very accessible and eliminating subplots makes the play quite linear. The addition of women gives the play an almost contemporary feeling. The scenic and costume design by Soutra Gilmour for the first half of the play is simply dazzling, while the second half has its own visual display. [more]

17 Minutes

January 23, 2020

The play succeeds in large part because it begins in the aftermath of a school shooting. There are a few bits of dialogue describing the terror of the incident itself, but there is no onstage representation of the violence, nor any long, involved retelling of it. None of that is really needed, because the chaotic, nightmarish imagery of such episodes has become engrained in our imaginations over the years. Nor does the play aim to offer a solution to the mass-shooting scourge. Instead, it tells a simple—yet decidedly powerful—human story about a figure who is, paradoxically, both on the periphery of the incident and at its heart. [more]

Thunder Rock

January 23, 2020

It is not difficult to see what attracted Metropolitan Playhouse to Ardrey’s drama: its message that one cannot shut one’s self off from the problems of the world as the America First movement wants to do is very timely once again as in the 1930’s, and the refugees who appear in the play’s second act and speak of their hopes and dreams in the new land are a stinging rebuke to those who would shut the golden doors to foreigners seeking asylum in the United States in our own time. [more]

BOOM

January 22, 2020

Employing an impressive array of voices and mannerisms, and only sometimes augmented with a wig or article of clothing, Miller as “Narrator” impersonates numerous performers, personalities, and politicians of the era, voicing every commercial and even dubs his own parents in short video clips at the very beginning of the piece. “100 voices. 25 years. 1 man,” the publicity statement declares, and Miller doesn’t disappoint. [more]

Grand Swan Lake (Shanghai Ballet)

January 20, 2020

A recent iteration of the classic ballet "Swan Lake" was staged by Derek Deane and danced by the Shanghai Ballet and presented by the Shanghai Ballet with China Arts and Entertainment Group Ltd. at the David H. Koch Theater at Lincoln Center. The company called their version "Grand Swan Lake" because it promised to be bigger than any other, at least in the number of dancers on the stage. But was bigger any better? Actually, yes. I assumed that using 48 swans was just a gimmick to get attention, but it was a very effective dramatic device. Forty-eight white tutus in moving formation was impressive, and in the last act, all those swans magically rising up through the fog was really breathtaking, a memorably dramatic visual. [more]

Me & Mr. Jones: My Intimate Relationship with David Bowie

January 20, 2020

With her richly expressive character voice, alternating between appealing deepness and wonderfully hitting high notes, she beautifully does justice to each song. We see every hallowed surrealistic image contained in “Life On Mars” due to her precise phrasing and crisp enunciation. Written in 1995, with its incendiary title, harsh lyrics and considering the state of the nation today, “I’m Afraid of Americans” becomes a prophetic terrifying showstopper as performed by the dynamic Cion. [more]

Miss America’s Ugly Daughter:  Bess Myerson & Me

January 18, 2020

More in the spirit of Carrie Fisher than Christina Crawford, performer Barra Grant chronicles her life and that of her famous mother in her engaging and smartly presented self-written solo show, "Miss America's Ugly Daughter: Bess Myerson & Me." Nostalgic New Yorkers will have their memories refreshed while others might be delightfully informed. It’s a harrowing, insightful and often very funny 90 minutes. [more]

Maz and Bricks

January 15, 2020

Created and first performed during the run-up to the 2018 national referendum that eventually led to the amendment's repeal, Maz and Bricks, a part of the Origin Theater Company’s 1st Irish Festival, hasn't suffered any loss of social relevance, because O'Connor is not a single-issue polemicist. Her play brims with many pointed ideas about modern Ireland, which, with greater and lesser success, are woven into a beguiling tale that follows its two titular characters on a Joycean ramble through the streets of Dublin, tripping up most significantly at the end when O'Connor shoehorns in a needlessly melodramatic coda intended to tie together a few loose plot threads that really shouldn't have been there at all. [more]

Love, Medea

January 14, 2020

The production is unapologetically irreverent. At the beginning, we see a masked Greek chorus wearing long robes, shuffling ever-so-slowly around the stage of the Center at West Park (the sanctuary of a Presbyterian church). The leader of the chorus eventually speaks to us in staid, stentorian tones from behind his gold mask. But soon the actors (all male) strip off the robes. They’re bare-chested, save for leather harnesses that look as though they could have been purchased from a local kink boutique. Costume designer Yuanyuan Liang obscures the men’s faces with black head coverings, giving them the look of hostage takers or executioners. [more]

ON THE PASSING OF THE NEW YORK MUSICAL FESTIVAL…

January 10, 2020

The festival has given birth to musicals that have gone on to Broadway ("Next to Normal," "Chaplin," "[title of show]," "In Transit") and Off-Broadway ("Altar Boyz," "The Other Josh Cohen," "My Vaudeville Man," "Yank!," "Cyclops," "Bedbugs," etc.)   Its shows have been produced in all 50 states and in 27 countries.Productions launched at the festival have won one Pulitzer Prize, three Tony Awards, three Obie Awards, and seven Drama Desk Awards.  That’s a terrific track record. [more]

Wild Dogs Under My Skirt

January 8, 2020

Speaking alternately, the six women talk of food, traditions, love, family, beliefs, ethics, dreams, abuse and New Zealand men. They speak of their dreams of a future and a better life. The language is earthy, raw, vital, colorful. Even without understanding every word, the gist is conveyed by the inflections and the performances. The evening includes song, dance, and speeches taken from passages in Avia’s book which are at times startling, revealing, amusing and tragic. They are sometimes presented like poetry, at others like dramatic monologues, and at times like choral reading. [more]

Or, An Astronaut Play

January 8, 2020

A lively cast comprised of Harrison Unger, Caturah Brown, Tay Bass and Jonathan Cruz not only deliver exceptional performances during the inconsequential "Or, An Astronaut Play," they also demonstrate physical prowess. Continually hauling props and minimal furnishings about during its numerous brief scenes, this ensemble heroically aid in realizing the transitions. Alas, their commendable efforts are stymied by an unsatisfying play. The biggest laugh is gotten by the sight of a 1950’s B-movie-type space explorer helmet made out of cardboard. [more]

On The Town … with Chip Deffaa: Jerry Herman and Michael Feinstein

January 3, 2020

Composer/lyricist Jerry Herman was, of course, a Broadway legend.   He gave us such unforgettable shows as "Hello, Dolly!," "Mame," and "La Cage Aux Folles." These musicals were all  huge hits, brimming with songs that audiences quickly took their heart--songs like "We Need a Little Christmas," I Am What I Am," "If He Walked into My Life," "The Best of Times," and, of course, two of the most enduringly popular title-songs in Broadway history: "Hello, Dolly!" and "Mame."  Among his other Broadway shows: “Milk and Honey,” “Mack and Mabel,” “The Grand Tour,” “Dear World,” “Jerry’s Girls,” “An Evening with Jerry Herman.”  He also contributed material to both “Ben Franklin in Paris” and “A Day in Hollywood/A Night in the Ukraine.” [more]

DAVID CASSIDY… BEHIND THE SCENES

January 1, 2020

Some will tell me that David Cassidy was their first crush, back when he was starring on “The Partridge Family” on TV, recording regularly, and selling out huge concert stadiums. And they’ll write me how lucky I was to have been able to hang out with him, and how much fun he must have been. And maybe they’re remembering watching him on “The Partridge Family” on TV. And they’ll ask: “What was David Cassidy really like?” [more]

The Mikado or, The Town of Titipu (NYGASP)

December 31, 2019

The framing device is not a completely elegant solution to the problem, but it gets the job done. Gilbert gets knocked out cold while examining the contents of the trunk. While incapacitated, he imagines the members of the company playing the roles that he and Sullivan will eventually create. In this fantasy 'Mikado," the citizens of the town of Titipu are more British townsfolk than Japanese villagers. They dress in bright Victorian-era costumes by Quinto Ott. The set by Anshuman Bhatia includes a railway depot from which the characters who have arrived in town emerge (giving a multiple meaning to the lyric “Comes a train of little ladies…”). The cast consists of actors of various racial backgrounds. [more]

London Assurance

December 29, 2019

Dion Boucicault’s "London Assurance" is still a witty and lively play after almost 180 years. With its farcical elements laid over a drawing room comedy plot, Charlotte Moore’s adroit production for the Irish Repertory Theatre mines the play for all of its humor and wisdom concerning the foibles of human nature and self-delusion. With a superb cast, Rachel Pickup is awarded the acting honors for her marvelous depiction of Lady Gay Spanker, a bon vivant who knows how to get the most out of life and other people. [more]

one in two

December 27, 2019

Leland Fowler, Jamyl Dobson and Edward Mawere in a scene from Donja R. Love’s “one in two” in [more]

Sing Street

December 27, 2019

By stripping the story of local color—even the projections show little but an anonymous seascape—the creative team does ill by "Sing Street. " Take away the Irish accents, the 1980’s songs and a quick reference to The Famine, and this story of alienated teens could have taken place in Boise, Idaho, or Buenos Aires, Argentina.  Let’s face it, the let’s-put-together-a-band-to-solve-our-problems was even a common theme in MGM films of the forties! (The original "Sing Street" movie, of course, was filmed in Dublin and was filled to the brim with local color and the grimness of economic distress.) [more]

The Inheritance

December 24, 2019

Samuel H. Levine, Kyle Soller and Andrew Burnap in a scene from Matthew Lopez’s “The [more]

Judgment Day

December 23, 2019

A product of the tumultuous thirties whose work was banned by the Nazis even though he was not Jewish, Von Horváth was particularly interested in social criticism of the middle-class and warnings about the rise of fascism. His major themes include tales of herd psychology and moral responsibility. By dealing with these timely topics, Judgment Day given a monumental visual production design by set designer Paul Steinberg in the cavernous Drill Hall at the Armory, the play seems as powerful and relevant as if it had been written in this decade, not 80 years ago. The production makes this expressionistic drama as contemporary as if this style were newly born. Starring Luke Kirby (Emmy Award for his Lenny Bruce in "The Marvelous Mrs. Maisel") in the leading role of Stationmaster Thomas Hudetz, the play offers juicy roles to several of the minor characters. [more]

Dorrance Dance: The Nutcracker Suite

December 23, 2019

The music included the catchy, familiar tunes of "The Nutcracker Suite" by Peter Ilyich Tchaikovsky, first featured in classical ballet. The Dorrance version uses the absolutely wonderful jazz arrangement by Duke Ellington and Billy Strayhorn. No doubt the music would have been enhanced with a live orchestra, but one assumes that there was neither the budget nor the space for a Big Band orchestra. Nonetheless, the music is a marvelous interpretation, providing the perfect accompaniment for tap dancing – and certainly worth hearing again on its own. On occasion, however, there is no music, just the rhythmic sounds of tap dancing providing its own accompaniment. [more]

One November Yankee

December 21, 2019

Beloved television stars Harry Hamlin (L.A. Law) and Stefanie Powers (Hart to Hart) return to the New York stage in Joshua Ravetch’s "One November Yankee" which they previously performed at the Delaware Theatre Company, was initially seen in Los Angeles’ NoHo Arts Center Theatre in 2012. It is their star power which keeps this old-fashioned, rather sit-com-ish, interconnected triple bill as lively and as entertaining as it is despite clichéd writing and passé jokes. Playing three different sets of siblings all connected by one plane crash, they manage to be convincing in weak material. [more]

ZviDance: MAIM (“Water” in Hebrew)

December 19, 2019

Israeli-born choreographer Zvi Gotheiner created "Maim ('Water' in Hebrew)," a somber meditation on water, drought, misery, community and survival for seven members of ZviDance, all brilliant dancers with clearly defined personalities. Somehow, in under an hour, Gotheiner managed to dredge up memories and images of his early life on a kibbutz and how valuable water was in the life of his community.  That, added to the current climate crisis’ causing drastic drought concerns, stimulated him to produce "MAIM ('Water' in Hebrew)." [more]

Pockets

December 18, 2019

Frothiness abounds in "Pockets," an amusing spoof of British musicals that’s presented by the Los Angeles-based comedy troupe Robot Teammate.  The rollicking score is a collaboration between the group’s members and lead composer and music director Branson NeJame. The saucy book is a communal effort as well, created with head writer Dave Reynolds. It’s all 70-minutes of good-natured silliness structured as sketch comedy-style scenes and accomplished musical numbers. There are plentiful puns, sight gags and zaniness. [more]

Greater Clements

December 17, 2019

Told in leisurely style, Greater Clements is about the decline (and possible fall) of the American dream. Hunter appears to be saying that this is a long-time coming and its roots go very deep. The play begins with a flashback prologue with Maggie’s son Joe giving a tour of the mine, describing the 1972 fire on the 6,400 foot level that killed 81 men including his grandfather. However, on the weekend that the play takes place Maggie is expecting Billy, her high school beau, a Japanese-American who took her to the prom, now a widower and who is returning to visit 50 years later. Maggie, now 12 years divorced from Caleb who left her for another man, may be at loose ends but this is possibly a new beginning. [more]

Halfway Bitches Go Straight to Heaven

December 17, 2019

Besides Mr. Skittles, there are 18 other characters of different races, ages, genders and sexualities. They’re a cross section of the downtrodden and those involved with aiding them. Ex-convicts, the homeless, an Iraq war veteran, drug addicts, battered women and their children, social workers, staff members, law officers, a trans woman who incites divisiveness, and a wily Catholic priest who once threw a man off the roof of a building are all vividly realized by Mr. Guirgis’ supreme command of dramatic writing. Each one of these many figures are majestically fleshed out, some in great detail. Guirgis goes beyond offering a loving mosaic of character studies by gradually injecting a suspenseful narrative that reaches a bleak yet hopeful conclusion. [more]

A City of Refuge

December 17, 2019

The story itself has potential, yet despite the actors’ heroic attempts to bring truth to it, the script has its characters written to say and do so many unrealistic things that the core authenticity of what’s unfolding can’t be upheld. Physical and emotional boundaries get crossed in questionable ways, and unreasonable demands are made to unbelievable responses. Characters drop vague references and make mysterious insinuations, demonstrating resentment and distrust in each other without explanation. Understanding who is what to whom just takes too long to be revealed, and the audience must buffer so many mysterious references and unexplained pieces of information for so long that by the time the play concludes with a battery of accusations and revelations, the audience isn’t sure what’s happening and thrown up its hands in disbelief. [more]

Jagged Little Pill

December 15, 2019

Given the personal nature of Morissette's artistic output, it might be surprising to learn that the Broadway version of Jagged Little Pill doesn't take the easy biographical route for its book, mimicking, say, the mega-popular "Beautiful: The Carole King Musical," whose subtitle pretty much says it all. Instead, Morissette's album (Glen Ballard co-wrote the music) and a few of her other songs support an entirely original story from theater-novice Diablo Cody, whose Oscar-winning screenplay for "Juno" was funny, affecting, and decidedly superficial. This same descriptive mixed bag also holds true for Jagged Little Pill, which rises above typical jukebox musical fare, but not as much as it could have, largely because Cody is interested in hot-button issues, not characters. [more]

Where Are We Now

December 13, 2019

Possessed of an awesome soaring tenor voice, the magnetic Dutch-German Mr. Ratzke offers not a conventional cover band-style tribute show with slavish imitation, but instead a thrilling performance piece. His vivid singing is characterized by his slight accent, occasional hints of Bowie’s timbre and shades of Anthony Newley, an early Bowie influence. Ratzke is accompanied by only the impish silent foil and beaming German virtuoso Christian Pabst on grand piano who enchants with his sustained high caliber musicianship and jazzy solos. [more]

Peter & the Wolf

December 13, 2019

Ensemble Signal, Marjorie Folkman, Daniel Pettrow and Kristen Foote in a scene from “Peter & [more]

The Thin Place

December 13, 2019

After pillaging Ibsen in "A Doll's House, Part 2" and lampooning the former First Couple for "Hillary and Clinton," vaunted playwright Lucas Hnath’s latest piffle, "The Thin Place" is a Wallace Shawn-style talkathon aptly dedicated to the late magician Ricky Jay as it’s an exercise in flimflam.  There is more craft and profundity in the first season "I Love Lucy" episode “The Séance” with its immortal lines, “Ethel to Tillie. Ethel to Tillie. Come in Tillie.” [more]

ray gun say0nara

December 11, 2019

Fabulous technical elements and spirited performances from a large ensemble of actors, singers and dancers cannot overcome the authorial negligence of the musical science fiction pastiche, "ray gun say0nara." It runs over two hours plus an intermission and has some engaging sequences but makes little cumulative impact. [more]

The Gospel of John

December 11, 2019

After marveling at Ken Jennings’ power of memorization, one has to admire his ability to deliver the entire text of "The Gospel of John" with unwavering clarity and devotion to its meaning both as literature and as a Christian lodestone. An agile actor (and singer), Jennings (the original Tobias in "Sweeney Todd"), deftly tells the story of Jesus as seen through the eyes of John the Baptist.  The actor roams about a simple raised platform in front of a rough-hewn back curtain made of wrinkled tan cloth.  What looks like a handmade bench—a subtle reference to Jesus’ vocation?—completes the set. [more]

Anything Can Happen in the Theater: The Musical World of Maury Yeston

December 11, 2019

The York Theatre Company’s new revue, "Anything Can Happen in the Theater: The Musical World of Maury Yeston," reminds us not to take for granted the talents of this vibrant composer/lyricist, best known for such Broadway titles as "Nine" (1982), "Grand Hotel" (1989) and "Titanic" (1997). This one-act show, featuring five abundantly gifted singer-dancers, underscores the wide-ranging nature of the composer’s music. Yeston has successfully adopted diverse musical sounds, from 1920's pop to mid-twentieth-century rock to folky-country contemporary. Mostly though, he’s known for lush, sweeping, timeless melodies that seem at times to bypass listeners’ ears and aim straight for the heart. His lyrics are smart, but not overly clever. [more]

The Santa Closet

December 10, 2019

Houses on the Moon Theater Company’s delightful and earnest mission is to “dispel ignorance and isolation through the theatrical amplification of unheard voices.” "The Santa Closet," another one-man show written and performed by the company’s co-founder Jeffrey Solomon, doesn’t reach the lofty goals of some of his other plays; however, the newly updated, tenth-year anniversary production of this frothy, zany tale is nevertheless aloft with quite a few grins and chuckles. [more]

The Sorceress (Di Kishefmakherin)

December 9, 2019

Goldfaden’s escapist musical fantasy combines bits and pieces from many sources: the Cinderella fairy tale; Gilbert-and-Sullivan-esque rapid-fire, tongue twister songs; old-fashioned (even in 1878!) melodrama; Mozart’s The Abduction from the Seraglio; and—believe it or not—the Seventies’  TV sitcom, “Laverne and Shirley”! (The L & S reference, to be absolutely honest, might be an interjection improvised by the actor—yes actor—playing the title role.) [more]

Harry Townsend’s Last Stand

December 6, 2019

Cariou is now appearing Off-Broadway as the titular character in playwright George Eastman’s slight though moving two-character work, Harry Townsend's Last Stand. Sharp one-liners, funny set ups and punchlines and wistful observations abound throughout Mr. Eastman’s effective familiar scenario. It is playwrighting at its basic best, delivering two hefty empathetic roles for actors to attack while delighting the audience. [more]

The Underlying Chris

December 6, 2019

Another way to look at the play is as the twelve stages of man and woman, going Shakespeare five more steps. Unlike Tracy Letts’ Mary Page Marlowe, in which the heroine was played by a different actress at each stage of her life, here we are asked to adjust to multiple versions of Chris whose name changes in each of the play’s 12 scenes: Chris, Christine, Kris, Christopher, Kristin, Topher, Christoph, Kit, Christina, and finally Khris. [more]

MsTrial

December 5, 2019

Prominent Georgia attorney Dep Kirkland “decided to listen to his own voice, and walked away from the legal field altogether to pursue his previously private dream of acting, writing, and directing...” This statement comes from Mr. Kirkland’s biography in the program for the play he wrote, "MsTRIAL." Its promising He Said, She Said premise is undermined by a disjointed structure and presentational flaws. Mr. Kirkland has come up with a viable plot, appealing familiar characters and expert dialogue, but his command of dramatic writing is shaky. It’s not the explosive legal drama it aspires to be, coming across more as a screenplay being workshopped instead of a realized stage play. [more]

The Half-Life of Marie Curie

December 4, 2019

Having won the 2014 Harold and Mimi Steinberg/American Theatre Critics Association New Play Award for "I and You," this is the fourth production of a Lauren Gunderson play in New York since then including her solo play "Natural Shocks" on domestic abuse which was produced in 100 American theaters in 2018. A specialist in biographical plays, her "The Half-Life of Marie Curie" is of particular interest in that it tells a little-known story of a very famous figure. It is also notable for the vivid performances of Kate Mulgrew and Francesca Faridany. Although Gunderson is not yet a household name, she has been the most produced American playwright since 2016. [more]

Cyrano

December 2, 2019

For those younger members of the audience who do not know Edmond Rostand’s classic French play, "Cyrano de Bergerac," the new musical "Cyrano" presented by The New Group at the Darryl Roth Theatre may be entertaining enough. However, for those of us who know the original, the compromises and excisions from the text make it a shadow of its former itself. Don’t blame film and television star Peter Dinklage who gives a vigorous performance in the title role. However, he is hampered by the adaptation by director Erica Schmidt who happens to be his wife. [more]
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