For Ruth, bars are not bastions of cheery comradery. Having worked and patronized a slew of them in Manhattan and Brooklyn, they are little purgatories where a health inspector can ruin your day and burgeoning hipsters wave for service using their selfie sticks.
Baghdaddy is a great musical trapped inside of a good musical. Based upon the actual events that led the United States to invade Iraq in 2003, the production is sometimes at battle with itself. At its best, it is a touching look at how small, human flaws can escalate toward catastrophe. At its worst, it is sketch comedy, albeit with free donuts and coffee for the audience.
Director Joe Brancato keeps what could have been a runaway train on the rails, showing a deft comic touch at the start, and painting an ending that is melancholy without being maudlin.
Sweat may well be the best American play set in a bar since The Iceman Cometh. Back then, O’Neill established the local pub as a place where dreams come to die. Lynn Nottage is of similar mind, but her focus is on a specific dream, the one involving the land of opportunity and its inherent promises.
Plenty of compelling visuals, and a mostly powerful performance by its lead. Come for the history and morality lessons, stay for the terrifying puppets.
Imagine a bizarro world version of A Christmas Carol with Scrooge replaced by a financially and morally bankrupt old woman, haunted by the sins of her past.
For Jerry Herman fans, a rare chance to appreciate a mid-career work. But it is easy to understand how Dear World ran for 4 months on Broadway and was not seen in New York again, until now.
In this spitfire revival of Sunset Boulevard, Glenn Close has mastered the art of bringing controlled madness to her method.
Never a dull moment. But, while there is humor, there is disappointingly little pathos. In a play about moving out and moving on, few of the characters are very moving at all.
By Stanford Friedman For the second year in a row, BroadwayCon coincided with a severe storm. But this time, instead of a blizzard, a fierce political wind raged through the city, with thousands taking to the streets in protest. At the Javitz Center, in keeping with theater tradition, the show went on. And what a show it was. Sunday morning brought out a dozen of the industry’s most talented artists. First, there were the...
I arrived earlier than planned tho BroadwayCon on Saturday morning,so I snuck into the end of a discussion on cosplay because, really, how could one not? On the dais, a princess, a cat, and a Phantom of the Opera held forth. The audience was full of assorted Schuyler sisters, and various characters from Wicked. The conversation was a rather fascinating mix of gender politics and tips on buying fabric; surely it was the only outlet at BroadwayCon where Goodwill shops and transgenderism were simultaneously getting proper recognition for their merits.
Flocks of theater kids heading west, dressed as Matilda or The Little Mermaid or a Newsie can mean only one thing: BroadwayCon 2017 has arrived. After launching the convention last year, during a blizzard, in the comparatively intimate Hilton Midtown, this year the organizers have gone full throttle, relocating to the Javits Center and offering more than 200 hours of programming with nearly 500 “special guests” spread across three days.
READ OUR CRTICS’ PICS for 2016 – Look, the theatre is a temple. It is a living breathing entity that grabs you like no other art form. You do not sit idly by and observe. It requires you to breath in concert with the performers. And when it all works, it is little short of a communion.
A happy go lucky Big Apple romp where folks manage to run into each other a lot, the guy gets the girl, another guy gets the guy, and Pizza Rat gets the pizza.
It is the rare Broadway show that leaves its audience disturbed by gun violence and racial slurs even as they go happily humming doo-wop on their way out of the theater.