Barbara Bleier and Austin Pendleton are together again at Pangea with a new show Beautiful Mistake. And are we not the better for it? I don’t know if audiences come to these two for the music (which is out of this world) or just to see these two bask in each other’s company. Who cares?
A. A. Milne has succeeded in blending light drawing room comedy and subtle drama in an examination of family dynamics and identity. What happens when reality intrudes on genteel British family life?
If you like your brains scrambled, or over easy, or poached or any way other than the way you usually carry them around, Derren Brown is the fella for you. This one is a Jeeze Louise of the Highest Order.
A zebra and a unicorn have a great deal in common but they are not the same. It might be tempting to take the extraordinarily rich and fully staged Groundhog Day currently on Broadway, as a mere remake of the 1993 film. It’s not. The film was a terrific zebra; the Broadway musical, is a kind of unicorn.
Mobile Unit’s TWELFTH NIGHT by William Shakespeare and directed by Saheem Ali is devil-may-care production, hysterically funny, rapid fire acting at a neck breaking pace and that is all for free.
Adapting a classic story is a tall order. It requires bold choices to convey Dahl’s eccentric tale of a chocolate dystopia, with its manic Oompa Loompas and colorful child-murdering, candy creations. This adaptation fulfills that goal admirably.
You may not have seen the original, but you’ve played the game. Now’s your chance to see where it all started. John Guare didn’t make up the concept but his 1990 play Six Degrees of Separation, put the phrase on everyone’s lips and made Kevin Bacon a household name. Not that Bacon had anything to do with the play, mind you. The stunning revival now playing at the Barrymore Theater through July 16th is an uncomfortably funny reminder that the more things change, the more they stay the same.
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.
It’s funny that Marilyn Maye’s latest show is titled Carrying the Torch, because her fans are all carrying the torch for her. Marilyn Maye is smashing. Not “for her age.”
White Guy on the Bus has played all over the country. Los Angele, Illinois, Washington DC, New Jersey. The question is WHY?
You wanna see a show that is completely INNOVATIVE and INSPIRING, where you can share the experience with your children, where after you can go for sushi and discuss how good you feel, how much FUN you just had, how you have to make sure that all your friends and their children GO AND SEE it and feel the same great way you do
What are we saying when we talk? And what are we not saying?
Multiple Family Dwelling, another world premiere at the New Jersey Repertory Company in Long Branch, is about the things we are careful not to say in our conversations, and how, inevitably, they all come out.
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.
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.
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…