As the tale winds down, and the sad ending begins to lay itself down like a deck of cards, the shroud of the tale is unfurled and let to fall over all in attendance. Without knowing it we have been seduced into tale, and Sweeney Todd is no longer at arm’s length. His heart and soul, his love, his passion and his tragedy have become ours.
There are two riveting speeches in Bull in a China Shop. They come late in the 90-minute production — the first is capriciously funny; the second brought me to tears.
There is something seriously amiss in the life of Linda, now at The Manhattan Theatre Club. Penelope Skinner has written play that the radio PR blurb tells us is about a woman who has it all and refuses to be discounted. In reality, however, the cracks on the wall of Linda’s life are evident from the first syllable. At no time does she have it all, and deep down she knows it.
David Mamet is an American theater icon for good reason. He writes plays with nuance and depth that require the audience to really listen and think. About subjects that will stick to your ribs and keep your mind and your guts churning long after you leave the theater. His latest play at The Atlantic Theater Company, The Penitent, is no exception. Mamet likes to play his cards close to his chest. He lets us see one card at a time and keeps us guessing about what else might be in his hand. For mystery fans like myself, it’s an alluring invitation. We follow the clues like bloodhounds.
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…
Will Eno’s new play, Wakey Wakey could easily be called Nightie Night because it is about a man named Guy (Michael Emerson) who is measuring out the last moments of his life. Emerson is recognizable from his television work (Lost, and Person of Interest), and here he does not disappoint. Would that the material itself held up as well.
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.
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.
As the curtain comes down on The Vineyard’s production of Kid Victory by John Kander and Greg Pierce, you might be tempted to flip through your mental rolodex and count all the many musical genres that have been squeezed into this 1 hour and 45 minutes of non-stop action and some extremely beautiful music. Hymns, jazz, tap dance, ballads, snappy character tunes – and more. On the other hand, the lyrics, book and storyline – these elements are fragmented and elusive.
With Everybody, now in production at Signature Theatre, Brendan Jacobs-Jenkins has created another circuitous and intriguing route for us to follow. Like his previous plays, Octoroon, Appropriate and Gloria Jacobs-Jenkins takes no prisoners. You either keep up with the pace or you fall off the wagon train. One gets the feeling that Jacob-Jennings doesn’t care either way because his eye is locked onto the trail ahead.
“Fish Men” is a thinking person’s play. It has a direct correlation to what is happening in our world today: vengeance, worldwide genocide, religious and government damnation and retribution…
It’s a play,,,it’s a party…its’s hard to tell when you walk into the Linney Theatre to see Evening at the Talk House. You arrive through grand double doors looking at the set of a plush lounge with a huge crystal chandelier. There are comfortable arm chairs and sofas, and everyone is milling about. Servers offer you sweets and neon colored drinks, and the ushers urge you to “please mingle.” Charmed, curious, I took my seat. This was not what I was expecting from the NY Times article about Wallace Shawn’s latest play, “Drama as Protest: ‘Our Complacency is Dangerous.”
Spring isn’t here yet, but in these seemingly endless, waning days of winter at least New York cabaret fans have reason to rejoice, because John Lloyd Young is back at the Café Carlyle, where he just opened his new show, Here For You, running pretty much for the rest of the month.
By Tulis McCall Approximately 15 minutes into the first act of Ring Twice For Miranda, you realize that whatever it was you were waiting for – an event, a plot twist, or that moment when the play kicks off and says to you, “Follow me,” – THAT moment is nowhere in sight. It has not happened heretofore, and the sluggish pace of the play let’s you know that it ain’t gonna appear in the next two hours. The play is described as a...
In this spitfire revival of Sunset Boulevard, Glenn Close has mastered the art of bringing controlled madness to her method.
Do you love Kurt Weill? Don’t know Kurt Weill from Kurt Cobain? Doesn’t matter. If you’re interested in musical theater, quick get a ticket to Berlin to Broadway With Kurt Weill: A Musical Voyage. It’s playing a limited engagement only until February 19th as part of The York Theatre Company’s “Musicals in Mufti” Series.
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.