For those of you looking for a fluffy night out at the theatre, where all you have to do is sit back and bask in the good work bestowed upon you by others – you are directed to swan right past the entrance to Venus at Signature Theatre and go directly to the bar. Suzan-Lori Parks does not write for the passive observer. Venus, her most recent production (written 20 years ago) makes you sit up and pay attention – even if you don’t want to.
Chita Rivera doesn’t just take the stage at Cafe Carlyle. She hoists it over her shoulder and walks off with it. Rivera is a performer so in love with being on a stage that you wonder what pitiful amount of energy she might have left to devote to other matters.
Producers Sonia Friedman, Shakespeare’s Globe and Paula Marie Black have announced that three-time Tony Award winner and Oscar winner Mark Rylance will return to Broadway in a transfer of the West End hit Farinelli and the King. The Shakespeare’s Globe production will begin previews at the Belasco Theatre on December 5, 2017, before an official opening on December 17 and a strictly limited engagement through to March 25, 2018.
Sam Gold’s direction pulls these extraordinary cast together into an ensemble that summons the Spirits of the Small Moments to the table to create a banquet. This is a feast all around. A Doll’s House Part 2 is a reminder of why theatre – or art itself – is, at its best, a life altering experience. It reminds us that Walt Whitman wasn’t kidding when he wrote:
“you are here—that life exists and identity,
… the powerful play goes on, and you may contribute a verse.”
This is the sort of play that makes us remember we are alive.
This is a musical that treads the razor’s edge – is it a romance or is it a veterans’ salute? It is both, and makes no apologies. At times it also makes no sense, but the underpinning, which is the cost of war, carries the day.
2017 DRAMA DESK AWARDS NOMINATIONS ANNOUNCED Awards will be presented Sunday, June 4th at The Town Hall www.DramaDeskAwards.com (Thursday, April 27, 2017) – Nominations for the 62nd Annual Drama Desk Awards were announced this morning at Feinstein’s/54 Below by Laura Benanti (She Loves Me, Gypsy) and Javier Muñoz(Hamilton, In the Heights). The nominations announcement was streamed live on www.TheaterMania.com. The full...
Lions and Tigers and – oh, I mean SHAKESPEARE. Oh my. If this is summer a comin’, it must be Shakespeare.
Annie Baker picks apart silence like a molecular scientist. One atom at a time. She is fearless in her ability to let a thought hang in the air like a cloud. Even a cloud, however, needs to move on or transform eventually. In Antipodes there is no such movement.
HELLO DOLLY DAY??? Mayor De Blasio is having a slow news day – so it is time for a proclamation. I wonder who will get to the Shubert first, Trump or Hilary?
The intrigue is presented like so many layers of a French pastry. Directed with style and precision by Daniel Sullivan this is a crisp evening of deceit and calculation. Everyone is up to something, and you don’t want to take your eyes off any of them for a second. Each character – and each very fine actor – is on a trajectory of their own making. The result is an ensemble that is having a devilishly good time.
Did you see Hello Dolly? The Front Row Center was not offered press tickets. Seems as though there were a bunch of us Second Night Reviewers that were bumped off the band wagon.
So here is an invitation – if you saw this super-duper-spectacular please send your review to us and we will publish them here. Crowd sourced reviewing!
The Rodgers and Hammerstein classic Carousel will return to Broadway in 2018, featuring Tony Award winner Jessie Mueller (Waitress) as Julie Jordan, Tony nominee Joshua Henry (Hamilton) as Billy Bigelow and opera star Renee Fleming as Nettie Fowler. Three-time Tony winner Jack O’Brien will direct the revival, set to open on March 23, 2018 at a theater to be announced.
This is one of those times when a person straps on her writing gear and gets to the task at hand because, as Charles Mee says, “writing is not about saying something, it is about discovering something.”
The Profane is paved with good intentions but ends up being too clever by half. This is a play about people being devoted to and diverging from core beliefs, and the expectations that they have for their children to follow in their footsteps. The core beliefs in this case are those of Islam. The too clever part is that neither the religion nor it’s Muslim followers are mentioned. There is nary an “Islam” or a “Muslim” in the text. Odd? I think so.