South of Katz’s Deli on Houston Street, somewhere along the narrow urban labyrinth of tattoo parlors, bike shops, slick bars and knish bakeries on the crowded, short blocks that comprise today’s hip lower East Side, there is a private club so private that I am not allowed to mention its name in this article. For the initiated, it has sister outposts in Hong Kong and London, and when one enters into its spare reception area just a few...
Pacific Overtures, originally mounted on Broadway in 1976 by Harold Prince as a full-blown Kabuki spectacle, opened then to mixed critical reception in the press and closed after about six months, dividing the theatre world at the time forever into those who saw it, and those who didn’t.
John Pizzarelli is back at the Café Carlyle through May 6, offering New York cabaret fans a lively salute to the music of Johnny Mercer.
To paraphrase the playwright Lope de Vega, and to offer this riveting production the highest compliment of the theatre, Indecent is pretty much just three boards, two actors, and one magnificent, transcendent passion.
Alain Boublil and Claude-Michel Schonberg’s Miss Saigon has taken its second helicopter ride across the Atlantic from London, and landed right back at the Broadway Theatre, where it first set down in 1991 under heavy enemy fire.
This is doubtless going to become the hottest ticket in town, but you are nonetheless here encouraged to snag one by any means possible. I don’t want to overstate myself, but that would be difficult to do: this is a production for the ages, as good as it gets, a performance so exceptional, so overwhelming, you might be lucky enough to see something like it once, maybe twice in a lifetime.
Spring isn’t here yet, but in these seemingly endless, waning days of winter at least New York cabaret fans have reason to rejoice, because John Lloyd Young is back at the Café Carlyle, where he just opened his new show, Here For You, running pretty much for the rest of the month.
Steve Tyrell’s savvy mixture of American Standards and jazzy old holiday chestnuts will play right into that sweet spot for most cabaret fans.
She takes us on a journey that starts with taking out some suitcases, in this instance to illustrate the equivalent of the 93 pounds she lost: two check-in suitcases and a large carry-on, to be exact.
From start to finish, this show was a genuine treat, and you would be well advised to catch this wonderful act before it ends its run on June 11th.
I’ll just say it. I can’t recommend this. I would even encourage you to stop reading this review, so you can avoid wasting any more time on this pointless production.
This production lacks the edge of precision one would expect from a cast with this kind of marquee wattage, tackling a play of this stature.
The play is an impassioned plea for religious tolerance, and its relevance to modern life couldn’t be clearer.
This superb material is heart-felt stuff, sometimes even painful stuff, however jaunty and melodic it might sound, and Stephen Page is connected to it completely.
Fans of the film will enjoy the over-the-top decibel level afforded by the live stage experience, as well as the face-shredding guitar solos, gut-wrenching drum riffs and electric bass and keyboards wizardry that punctuate this joyously unabashed celebration of rock music. What about newcomers to the material? Ditto, though they will probably be astounded to find that these iconic instruments of rock showmanship have been put, quite literally, into the hands of children.