Joan Marcus is one of the preeminent theatrical photographers working in the US today. Over the past 25 years she has photographed over 500 shows on and off Broadway and regionally. A native of Pittsburgh, Pennsylvania, Joan graduated from George Washington University. In 2014 she received a Tony Honor for Excellence in the Theater. Joan Marcus is married to the theatrical press agent Adrian Bryan-Brown of Boneau/Bryan-Brown, a leading Broadway press agency. http://www.joanmarcusphotography.com/
As the most respected player in baseball, Williams has a quiet dignity and charm as a man of few words and few outward motions. While his wry remarks do not often come through as humor, he is very endearing as a man who has always had everything go his way but for the first time in his life must deal with events he cannot control. Ferguson in the role of Mason Marzac which won creator Denis O’Hare a Tony Award for Best Featured Actor in a Play in 2003 makes the role his own. His social awkwardness as well as his delight at being close to the superstar is patently palpable. He also has a handle on the volubility and articulateness of this clearly deep thinking man. As the narrator Kippy who is also a member of the team, Adams holds our interest as a compassionate man who uses big words and is known as an intellectual among his teammates. He has the task of doing a great deal of explaining both to his teammates and us and he does an excellent job without making it seem like exposition. [more]
Presentational flourishes abound in director Ralph B. Peña’s gorgeous physical staging which combines small-scale spectacle with humanity. Scenic designer Junghyun Georgia Lee provides a large gold frame through which we observe Afong’s act and an assortment of stylized pieces which evokes the past through clever artifice. That’s complemented by the shimmering artistry of lighting designers Jiyoun Chang and Elizabeth Mak and projection designer Shawn Duan. Sound designer and composer Fabian Obispo’s original music and composition, ranges from delightfully jaunty to purposefully moody. [more]
Songwriter Steve Earle, a three-time Grammy Award winner, returns providing homey, twangy music and acting as an understanding host/narrator. With charm that belies the depth of Coal Country’s horror, he pulls the audience into the sad story, sometimes musically underlining the confessions of those involved, most particularly the tale of the sole survivor of the disaster, Tommy, played with passion and an undertone of survivor’s guilt by Michael Laurence. [more]
Aleshea Harris’ third New York stage play following her form-bending "Is God Is" and "What to Send Up When It Goes Down" is epic in all senses of the word: it includes poetry, dance, incantation, comedy and drama. The new play "On Sugarland," an anti-war drama, also harks back to the Greeks, borrowing characters from Sophocles’ "Philoctetes" and Euripides’ "The Trojan Women," as well as the concept of the Chorus. It tells three interwoven stories as well as one communal one and ends with a shocking finale that is the hallmark of Greek tragedy. Director Whitney White’s production with its cast of 14 is quite versatile and lives up to its lofty task. [more]
Conceived and directed by Les Waters, his staging of Out of Time is of purposeful simplicity. The actors are seated, standing or in motion fulfilling the intentions of each author. The stage is set with scenic designer dots’ atmospheric assemblage of gauzy curtains and minimal furnishings which abstractly suggest different locales and tones. Reza Behjat’s clinical lighting design and Fabian Obispo’s modulated sound design successfully accentuate and realize each of the diverse works. Black, white and red are the colors of Mariko Ohigashi’s smart costume design. "Out of Time" is a fine opportunity to experience some stimulating new dramatic writing and uniformly superior acting. [more]
The show's pre-Broadway, out-of-town tryout was very successful financially, suggesting that there's an audience for the show. (The show broke box-office records in Seattle, during its tryout.) But that was before the pandemic. As company members began testing positive in December, the show was forced to cancel a number of performances, costing the production a lot of money. And after spending six years developing the show, its creators did not want to see the show die due to Covid-19. So they are trying this nine-week hiatus now, in the hope that it will give the show a chance at long-term viability later. [more]
"Flying Over Sunset," Pulitzer Prize-winning bookwriter/director James Lapine’s new original show, is a “What If?” musical: using historical facts that are known about writer and philosopher Aldous Huxley, politician and diplomat Clare Boothe Luce, and actor and film star Cary Grant, he has created a fictitious story about their experimenting with LSD together in the late 1950’s together. The problem seems to be that he doesn’t appear to know much about them so that the results are extremely thin though the musical still manages to run a little under three hours. The songs by Pulitzer Prize-winning composer Tom Kitt and lyricist Michael Korie don’t add a great deal and the production design which ought to be psychedelic is subdued and unadventurous. Stars Harry Hadden-Paton as Huxley, Carmen Cusack as Luce and Tony Yazbeck as Grant try valiantly but they can’t breathe life into generic cardboard cutouts. [more]
Although Candace Bushnell’s one-woman show, "Is There Still Sex in the City?," shares the same name with her 2019 novel/self-help book, the stage show now at the Darryl Roth Theatre is her autobiography telling the story of her life and career. Ms. Bushnell proves to be a vivacious performer with a great deal of stage presence, not surprising for a woman who was the model for "Sex and the City"’s Carrie Bradshaw. The show is both entertaining and revealing, correcting many misconceptions about the true adventures of the author. She also gets to change into a dazzling array of outfits by Lisa Zinni in an attractive apartment setting by Anna Louizos which colorfully lit by Travis McHale. And like Carrie Bradshaw she collects shoes which are in evidence in the shelves on the stage. [more]
Will a former Afghani U.S. Armed Forces interpreter get himself and his family out of the country before he’s captured by the Taliban in 2013? This is the crux of playwright Sylvia Khoury’s gripping, thoughtful and suspenseful drama, "Selling Kabul." In a straight through 100 minutes, Ms. Khoury crafts an accessible overview of that conflict, sets up a compelling story and employs a classic plot device. Khoury’s smooth passionate dialogue imparts exposition and biographical details while advancing action with technical accomplishment. [more]
As the manager of the restaurant, Aduba gives one of those big performances which are larger than life, but we have all met that type of people. She batters, insults, cajoles, berates her staff: is it to drive them to new heights or she is paying the world back for her tough life? Is she an incarnation of the devil or Satan? The gas fires that shoot out of the stage periodically make us wonder. When they receive a rave review in a local newspaper she belittles them as though they had nothing to do with the restaurant’s success. Wearing a new and colorful skintight outfit by Jennifer Moeller and multiple hairdos by Cookie Jordan each time she enters through the swings doors from the restaurant into the kitchen, she is a bigger and bigger surprise by what she says and what she threatens. As the dangerous and intimidating Clyde, she gives an indelible performance; just try to take your eyes off of her when she is onstage. [more]
All of us are probably aware of the problems of polluted water in Flint, Michigan, owing to civic neglect. However, it might shock you to know that it is still going on. Erika Dickerson-Despenza’s 2021 Susan Smith Blackburn Prize winning play, "Cullud Wattah," takes on this crisis through the prism of one family of three generations of Black women living in the same house. The material is powerful and explosive. We learn a great deal about the crisis as well as see how it personally affects all five of these women in one family. Director Candis C. Jones has obtained the kind of performances from her ensemble cast that makes you feel that these actresses have lived and worked together for years when they may have never met before now. [more]
But of course, looks are famously and frequently deceptive, if not all the time. Indeed,"Kristina Wong, Sweatshop Overload" emerges as one of the most serious-minded plays of all, as it surveys what we all have been going through and having to endure for the past 20 months. During that period, as you may recall, there were various times when necessary facemasks were proving unavailable—and especially in different parts of the country. Wong made it her business to recruit hundreds of her “Aunties” to produce them and provide relief, ergo the self-deprecating description in her title. She may have been overseeing something akin to a “sweatshop,” but it’s hard to imagine her as a demanding “overlord” of anything. [more]
David Hyde Pierce taking off his suit trousers to practice on a drum in his boxer shorts is one of many hilarious bits that are meshed with drama in "The Visitor." It’s a faithful, resonant and well-done musical adaptation of the acclaimed 2007 independent film of the same title. Book writers Kwame Kwei-Armah and Brian Yorkey stick closely to director/screenwriter Thomas McCarthy’s original vision while skillfully translating it for the stage. [more]
The writers seem afraid to state what the story is all about, the word gay being mentioned exactly once. At two hours and 15 minutes including one intermission, today’s audience is way ahead of the plot, knowing exactly what will happen in advance. While the 1994 movie was 23 minutes, the musical seems padded and dragged out. Davis’ music is pleasant enough, but Collins’ lyrics are pedestrian and repetitious. The songs seem to have a limited vocabulary such as children’s books often do, but 13 year olds have a slang and vernacular that is hardly used. The biggest problem with the score is that the dream Diana Ross (played flamboyantly and spiritedly by Yasmeen Sulieman) gets to sing seven of her most iconic songs (“Do You Know?,” "It’s My Turn,” “Upside Down,” “Ain’t No Mountain High Enough,” “Remember Me,” “Endless Love” and “I’m Coming Out”) which are far superior to any of the new songs, always a mistake in a non-jukebox musical. [more]
"Caroline, or Change" is an important musical, more now than in 2004. It should be seen. The Roundabout production, though somewhat flawed, still communicates the complicated relationship between Blacks and Jews, clearly an issue in today’s New York City. It is an excellently constructed show, its message surviving mostly intact. [more]
Although the characters never meet in person, they communicate mostly through letters that are spoken by the actors directly to the audience, and then halfway through the play, in texting which appears on the back screen as well as Facetime from across the world. Letters of Suresh is the perfect play for the pandemic as its characters are separated from each other across the stage as they declaim their letters, a reminder to all of us that without meeting in person we can communicate in writing. And the letters presented as monologues are never dry or dusty, but vibrant and revealing as if the other person is opposite you on the other side of a room or table. [more]
Martyna Majok writes powerfully and brilliantly about marginalized people, particularly undocumented immigrants living in Northern New Jersey, as in "Ironbound" and her 2018 Pulitzer Prize-winner "Cost of Living." Her new play, "Sanctuary City," set in Newark, now being given its world premiere production by the New York Theatre Workshop at the Lucille Lortel Theatre, is the same only different. While the characters could be cousins to others in her previous plays (as well as her 2018 "queens"), the structure and format is quite audacious and unusual, making the play a bit off-putting. [more]
The spartan set design by Wilson Chin features a large tin can, a tall streetlamp, a very large tire, a milk crate, and a high basketball net. The first two actors, Jon Michael Hill (as Moses) and Namir Smallwood (as Kitch) take shifting turns sitting on the large can and the milk crate. But when we initially meet them, they’re running rapidly in place. They’re also speaking what eventually becomes a tedious and redundant black vernacular, without seeming to have much to say to each other or to us, even as they traffic in racist clichés. As indicated by the character named Moses, Pass Over is riddled with Biblical references. It’s 28 minutes into the play when they’re joined by Mister (although I kept hearing them call him “Master,” which under the circumstances, would have made more sense). He also removes an enormous amount of food from the straw basket he brings with him, which he was ostensibly taking to his mother, as he also sings, “What a Wonderful World.” Mister is played by Gabriel Ebert, who also plays “Ossifer,” an alcoholic’s way of pronouncing “Officer.” [more]
Written and directed by White who is the Obie and Lily Award winning director of "Our Dear Dead Drug Lord" (WP Theater) and "What to Send Up When It Goes Down" (Public Theater, BAM Fisher and Playwrights Horizons), a NYTW Usual Suspect and former NYTW 2050 Fellow, among other impressive credits, "Semblance" asks the question: in your everyday life, how do you encounter Black women? What do you see and what do you assume? Nikiya Mathis plays seven women from all walks of life, six of them depicted in various jobs and careers and each in her own setting. The women address us directly: a line worker in a salad take-out restaurant, a nanny and caretaker with her charge in Prospect Park, a chart-topping artist preparing for a music video, an unemployed mother getting her nails done in a salon, a public figure such as a politician about to be interviewed on a news program, a bus driver on her run on an MTA bus, a medium to low level consultant in an office, and finally the actress herself as she removes her makeup. [more]
For "Coal Country," an investigation into the April 5, 2010 West Virginia disaster at Massey Energy’s Upper Big Branch coal mine which killed 29 men, authors Jessica Blank and Erik Jensen based their documentary play on first person interviews with the families of many of the victims, sons, brothers, fathers, husbands, nephews. Powerful in the piling up of evidence and malfeasance just as they had done in "The Exonerated," the play undercuts its dramatic power by revealing the end of the story at the very beginning so that the ultimate court decision comes as no surprise. Nevertheless, the individual stories told by seven actors speaking the real words of family members are very compelling. [more]
The declarative lyrics are written by Mr. Goldstein and the show’s composer Michael Friedman. Mr. Friedman was a notable musical theater figure who died of HIV-related causes in 2017, at the age of 41. With its derivative melodies echoing Stephen Sondheim, John Kander and William Finn, "Unknown Soldier" is not a posthumous masterpiece. [more]
Mixing fiction and fact, new Signature Theatre Residency playwright Lauren Yee’s "Cambodian Rock Band" is an engrossing, entertaining and appalling investigation into the Khmer Rouge’s genocide in Cambodia in the 1970’s and its aftermath. Using authentic Cambodian rock music from the 1960’s and 70’s as well as the songs of Dengue Fever, the Los Angeles-based Cambodian American band, the play is emceed by the genial Duch played by Francis Jue who turns out to be the play’s greatest villain and a real person now in prison. Chay Yew’s production is one that does not require prior knowledge to get caught up in the fictional play and the ugly, true history of Cambodia. [more]
As the centerpiece of its spring season, Classic Stage Company is presenting a repertory of adaptations of two legendary Gothic horror stories: Bram Stoker’s "Dracula" and Mary Shelley’s "Frankenstein" in new stage versions. Kate Hamill, go-to playwright for adaptations of 19th century literature, has given her take on "Dracula" a delightful comic slant. The sexism in the novel has been diluted by making this a feminist revenge fantasy. Turning Doctor Van Helsing, vampire hunter, and Renfield (under the sway of the vampire) into women changes the dynamic quite a bit giving the play a modern viewpoint. Director Sarna Lapine, who has worked with Hamill before on her "Little Women" and "The Scarlet Letter" adaptations, keeps the pace brisk and the humor buoyant as the women are given the best of the story. [more]
If it sounds challenging to do a two-performer version of "Frankenstein," it proves just that in the current production at the CSC, being performed in repertory with a new stage version of "Dracula." As adapted by Tristan Bernays from the novel by Mary Shelley, the first half-hour of the 80-minute show is more like performance art than a play, as very few words are spoken. During the first part of the play, there are more grunts and groans than there is anything resembling a script. [more]
Amidst the hubbub that includes coerced audience clapping and singalongs, we attempt to discern what the point is. It appears to be the story of an outsider who takes up residence in a rural locality and is accused of a crime; the audience votes whether to convict or acquit him. Several audience members have been given pages of lofty speeches to recite. “The words your fellow Townspeople quoted come from Dr. Cornell West and Coretta Scott King,” states the program. Where We Stand’s 70 minutes are mildly engaging if often baffling and do make some impact. [more]
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]
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]
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]
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]
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]
