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.
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.
The pursuit of the big idea, however worthy, can get tiresome, if not relieved by credible characters, witty exchanges, deft direction, and fine performances. Oslo offers all of that.
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!
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.”
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.”
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.
There are a lot of reasons to do a revival. Great writing, great stories, lessons learned. Sometimes, we want to see how far we’ve come. And sometimes we learn we haven’t come very far at all. Rosalee Pritchett and The Perry’s Mission, two one-acts being revived by the Negro Ensemble Company for its 50th Anniversary season, show us that we’ve lost ground, or haven’t come far enough.
In Present Laughter, Kevin Kline gives a tour de force performance you don’t want to miss.
There is something about watching Harvey Fierstein that makes you sit up and take notice. It is not merely his voice, which in itself will keep you awake. It is that this man staked a claim, back in the late 1970’s, on being a voice for gay men – in public. On stage. And eventually on Broadway. For those of you too young to remember, the only things that might come close would be for someone to take a public stand against the current administration’s busload of bohunks. For those of us old enough to remember, you cannot help by flash back and forth in time as you watch Fierstein. And this is not a bad thing at all.
The writers of the musical version of the charming French movie Amélie went forth to seek the promised land. But they did not heed the warnings of the prophets that it can be a challenging task to reinvent (rather than reproduce) a magical movie on the stage.
The Play That Goes Wrong; Henry Shields, Jonathan Sayer and Henry Lewis; Photo by Jeremy Daniel
There is always room in life for a good laugh. But these days, living in what I call a parallel universe where the government is a barrel of rabid monkeys led by a carnival barker, laughter is essential. And I have the perfect remedy for you – go see this play. There is NOTHING wrong with The Play That Goes Wrong. Unless you got something against laughing.
Show business royalty in the name of Lorna Luft took the stage at Feinstein’s/54 Below on April 6th, the opening night of a two show engagement which concludes April 8th. Luft gave a performance long on charm and classic American Songbook, singing to a room full of ardent fans. Luft was polished, warm and funny throughout the entire evening.
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.
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.