The stars were twinkling brighter and more plentiful on stage than in the sky on Saturday night in The Appel Room. The star-studded event, American Songbook: An Evening with Kristen and Bobby Lopez, closed the 2017 season in that venue. Lopez? I’ll give you a hint, What do the Disney movie Frozen, and the Broadway musicals The Book of Mormon, Avenue Q, and In Transit have in common? That’s right, one or both of the husband and wife team wrote the songs And Bobby is one of 12 people in history who is an “EGOT” – the recipient of an Emmy, Grammy, Oscar and Tony.
In the story of Judas’s life, Stephen Adly Giurgis has found a narrative more complex and murkier than a simple tale of betrayal. He has found a metaphor for a discussion of the meaning of hope.
I laughed, I cried, I split my gloves clapping. An old cliché, but it perfectly describes my experience seeing Joshua Harmon’s Significant Other at the Booth Theater the other night. Well…all except the glove part. Who wears gloves in the theater anymore? The modern audience gives a standing ovation. So I did that. Let’s try this again. I laughed, I cried, I stood on my feet clapping. And coming from me, that’s actually high praise. I’m kind of a snob about this standing ovation business. I think it’s too easily bestowed these days.
Come From Away is a show that is greater than the sum of its parts. The script is iffy. The music is not exceptional. The sound is so loud that the lyrics are often unintelligible. The spirit that is on that stage, however, sweeps all that aside and scoops everyone in the audience up into its arms. The talent, it should be noted is not iffy one little bit. Not only are they skilled actors with voices that rock, THEY LOOK LIKE US. These are not stereotypes. There is not a beauty queen, swarthy leading man, or crotchety elder among them. Perhaps that is because this is a true story – or perhaps it is because somebody cared. This is, after all, the story of what happened to us all on 9/11. No one who sees this show was untouched by that day. And no one will leave untouched by this show.
The play flies by on the wings of lightning and thunder due to the smart, fast, clever, hilarious dialogue of Steven Levenson, the carefully choreographed staging of Daniel Sullivan and the amazing performances of this ensemble. Everyone is perfect…
By Raphael Badagliacca Theater is about risk-taking. If your play is about an actual person, the stakes are higher. If the span of your subject’s life is so recent that it overlaps the lives of members of your audience, then the stakes go even higher. If you dare to stage a fictional encounter designed to capture and express the essence of the human being, then all of your chips are on the table. Kunstler excels at every level,...
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.
I give nothing away when I tell you that this play is based on the Sandy Hook shooting of 2012. Nor that Ms. Ireland plays a single mother whose son was killed on that day. That is where the predictable trail begins and ends. Where writer Martín Zimmerman and director by Leigh Silverman guide the story has a depth and stunning resonance that reaches way beyond the internal place you use as a boundary line between you and the world out there.
In Women of Bilbao Aimée Marcoux-Spurlock brings to life some of Kurt Weil’s greatest music, from his early career in Germany to the Broadway stage. Her nuanced interpretations show us why Kurt Weil is an iconic composer of the 20th century.
Jonah and Otto is an exciting and haunting piece of theater whose echoes stay with you. The writing is exceptional and the performances are not to be missed.
In YEN it is the quiet, painful moments of longing where the writer, actors and director all shine. That light is the light we hold up in darker moments for direction and hope.
It’s an over-used cliche to say a performer is brave, raw, fearless, but maybe we over-use these words because we want that experience so much. Dixon really delivers.
Part murder-mystery, part big-stage political story, this intriguing new play, set in Southeast China in 1943 involves the U.S.-China airmen, the Flying Tigers, with the Japanese on the horizon and Mao’s Communists on the march.
Sometimes I think of August Wilson as a composer. The text of his plays comes through as music. Sometimes it is not what people are saying, it is the melody they are creating with their lives.
Mr. LaBute beautifully merges the serio with the comic, and Mr. Kind and Ms. Crovatin execute their gamesmanship with depth and comic timing.
Blueprints Specials – Soldier Musicals has closed and that is a damn shame.
There are times when theatre comes along in her far flung finery and whisks you off on a journey before you have time to check your dance card. Such was the case when I sat in the audience for this production the other night.
I knew very little about Hundred Days at The Public Theater’s Under the Radar Festival when I went to see it the other night. I knew it was a concert-musical by The Bengsons, a folk-rock duo, about how they met and fell in love. When I got myself to the theater on the night of the first snowstorm of the season, and found out it was General Admission seating, I was not in a good mood. But there’s no doubt about it, Abigail is charming and Shaun is adorable. I defy anyone, even a grumpy critic, not to be moved by their curious and exhilarating blend of otherworldly folk and rousing rock music.
I am almost tired of seeing Marilyn Maye. How much excellence, clarity and inspiration can one gal take? As it turns out – a lot. A whole lot.
Mr. Wallace’s story and his telling of it put all of us in the soul of the young black man he is portraying.