Booth Theatre

Kimberly Akimbo

November 23, 2022

"Kimberly Akimbo," David Lindsay-Abaire’s oddball take on the title character’s dishearteningly sad disease, began life as a play back in 2001, reaching New York via the Manhattan Theatre Club in 2003. In 2021 Lindsay-Abaire (libretto and lyrics) combined resources with the eloquent composer, Jeanine Tesori, to restyle the play as an award-winning musical produced at the Atlantic Theater Company in November 2021. This is the production that has moved to the Booth Theatre where it now resides featuring the glowing performance of Victoria Clark as the troubled title character. Jessica Stone repeats her directorial duties, managing the move to a larger venue with skill and subtlety. [more]

for colored girls who have considered suicide/when the rainbow is enuf

April 30, 2022

This Broadway production, a godchild of a recent 2019 production at The Public Theater (directed by Leah C. Gardiner), is directed and choreographed by modern dance luminary Camille A. Brown (who choreographed The Public Theater version, hence the pedigree). Her take on Shange’s work is more matter of fact and streetwise than previous productions, her choreographic vision adding depth to the playwright’s vernacular, profane expressions of the consciences of a community of hard-pressed women. [more]

Gary: A Sequel to Titus Andronicus

April 26, 2019

Playwright Taylor Mac’s Broadway debut, "Gary: A Sequel to Titus Andronicus," comes with a great many pluses: three consummate clowns, Nathan Lane, Kristine Nielsen and Julie White, directed by George C. Wolfe, and a terrific set by Santo Loquasto. This ribald yet philosophical downtown comedy is making its debut at the Booth Theatre, usually home to sedate, serious dramas. While low humor seems to be the name of the game, the play also has a good deal to say on various topics like comedy and tragedy, political systems, class structure, the little people who generally do the dirty work, and parodying Elizabethan revenge plays. The humor in Gary is not for everyone, but those who relish low comedy will have a ball as do the actors on stage. [more]

American Son

November 15, 2018

“That’s it?” is likely to be one’s reaction at the conclusion of playwright Christopher Demos-Brown’s tidy topical 90-minute racial drama "American Son." Theater enthusiasts often rhapsodize about Broadway’s Golden Age, the 1920’s to the 1960’s, when straight plays filled theaters. Mr. Demos-Brown’s effort does harken back to that era by crafting a well-constructed minor vehicle for actors of the sort that could have played a season, then toured, was made into movie and was forgotten. Kerry Washington and the fine cast make the most of their choice roles under Kenny Leon’s solid direction. [more]

Meteor Shower

December 27, 2017

Steve Martin’s old/new wonderful comedy, "Meteor Shower," is about two California couples getting together for the first time--again, and again, and again. Like "Groundhog Day," it keeps starting all over again, with ensuing variations. And in the course of its brief, 80-minute, intermission-less duration, the couples have exchanged more than just words and ideas. By the end, they seem to have exchanged their personalities as well. The passive Corky has become more aggressive, and the overly assertive Laura has become less sure of herself. Similar reversals could be said about their respective husbands, Norm and Gerald. As Norm even says of Gerald, he’s “kind of two people.” [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]

Les Liaisons Dangereuses

November 9, 2016

Josie Rourke, artisic director of the Donmar Warehouse, understands the game’s complexity and what adroit moves need to be made throughout to maintain a psychological cohesiveness. Her deft hand is evident in her light touch so that the production is not weighed down by nastiness. Where Rourke falls down is casting Schreiber, who is known for his charismatic masculinity and not for being a jocund bon vivant. Valmont needs to be more calculating, as well as, effete. [more]

Hughie

March 5, 2016

When the audience enters, the curtain is up and Christopher Oram’s imposing scenic design of the faded hotel lobby is in view. The visual effect of its industrial greenish walls, dirty stone columns, chipped wooden adornments, ancient elevator, central staircase, frayed threadbare furnishings, severe front desk, and grimy windows is that of a stunning representation of hellish imprisonment. Also on view while the audience waits the play to start is the night clerk staring into space. [more]

Hand to God

April 16, 2015

Though operating under the guise of a rather nonsensical comedy, Askins’ play is actually a sophisticated examination of how we handle grief. The text depicts two competing sides of a boy newly without a father and in the throes of puberty: while Jason appears too innocent to ever do anything wrong, the sock on his hand offers a convenient outlet for his bad behavior. Laced in this dichotomy are hints of schizophrenia, allusions to autoerotic stimulation, and a critique of the Christian notion that “unholy” behavior exists outside of the pure self and thus can be forgiven and eliminated. The question literally “at hand” is as follows: is the puppet actually possessed or is Jason mentally ill? If the latter, to what extent should the otherwise sweet boy be held responsible for the evil puppet’s actions? [more]

The Elephant Man

December 24, 2014

This third Broadway outing of Bernard Pomerance’s "The Elephant Man" has its strengths and its weaknesses. On the one hand, it has Bradley Cooper’s magnificent, commanding performance in the title role. On the other, Scott Ellis’ production is a times superficial when it ought to be trenchant and facile when it ought to be caustic. However, like actors in profound classic texts, the performances in this 19th century tale many deepen over time. [more]