E V I E W S
Reviews, Cabaret Reviews and Film
Reviews are in their own sections
"The Resistible Rise of JR
It's all too easy in the Trump era to unleash barbs at the darned
dangerous President and his supporters. Much more difficult to write something
new and different as Edward Einhorn has done. Taking an imagined biography
of a real con man demagogue who lived in the early 20th century, Einhorn
has created a show that gave me a very good conception of where the Trumpster
came from and how he managed to stay in power. By Larry Litt.
|ALL ROADS LEAD TO THE KURSKI STATION -- Rivers Duiggan,
Elliott Morse, Rivers Duggan.
Two views of "All Roads
Lead to the Kurski Station."
At HERE, Vienya, a poet drunkard endures a nightmare journey, soaked in
vodka, from Moscow's Kurski Station to Petushki, a real Moscow suburb
and his hoped for paradise "where the jasmine never stops blooming
and the birds always sing" and where he hopes to be saved by his
love. He never makes it to Petushki because he sleeps in a drunken stupor
through the station and ends where he started, in Kurski station. The
70 minute performance takes us on a wild romp through the underbelly of
Soviet-Russian life with all its horror and absurdities—the laughter
gets stuck in our craw. By Beate Hein Bennett and Larry Litt.
|THE NAP -- Ben Schnetzer, Johanna Day. Photo by Joan
“The Nap” Will Keep You Awake and Laughing
Contrary to its misleading title, “The Nap,” Richard
Bean’s newest offering, making its American premiere under the direction
of Daniel Sullivan, has nothing to do with sleep. Rather it’s a
rowdy and riveting farce. By Paulanne Simmons.
|PRETTY WOMAN -- Samantha Barks as Vivian
Ward and Andy Karl as Edward Lewis, at the opera. Photo by Matthew
"Pretty Woman" morality
story pits prostitution v predatory capitalism
A story for our times about a billionaire Edward Lewis (Andy Karl) without
morals, who would destroy a shipbuilding company and fire its workers,
but learns something from a hooker. A Cinderella story which would not
quite make it today. Because it's about a prostitute who reforms her John.
It was a movie hit 20 years ago, but that was an epoch away. The book
is by Garry Marshall and J.F. Lawton, the music and lyrics by Bryan Adams
and Jim Vallance, based on the film by Lawton. Lucy Komisar would reject
the story on the anti-feminist face of it, though turns out she is smarter
than he is. But she liked the show.
|BERNHARDT/HAMLET -- A backstage dinner party. Photo
by Joan Marcus.
McTeer) on Broadway
Historical fiction is a tricky genre. Plain history can be academic (read:
boring), and inserting identifiable people as principals in pure fiction
can be presumptuous, or a copout. "Bernhardt/Hamlet" straddles
the extremes brilliantly; the precise inter-action among the actual people
may or may not have happened as portrayed, but their involvement in the
historical events makes it all plausible. Theresa Rebeck's comedy is period-specific
without reinforcing misconceptions about how people related and communicated
‘then'. It is fascinating even just for that. By Philip Dorian.
|HARRY POTTER AND THE CURSED CHILD -- The company.
Photo by Matthew Murphy.
"Harry Potter and the Cursed
Child," a stunner for set & magic
Mixed with the magic and terrific scenery, there's a lot of stuff
about fathers and sons, which is really the theme of the play, or the
two plays which you can see on succeeding nights or a one-day marathon.
Critics were requested not to give away the plot, which is easy to comply
with since it's rather silly. By Lucy Komisar.
Three views of "Arendt-Heidegger:
A Love Story"
|ARENDT-HEIDEGGER: A LOVE STORY -- Alyssa Simon, Joris
Stuyck. Photo by Rina Kopalla.
Author Douglas Lackey and director Alexander Harrington have managed to
extract a thought provoking stimulating performance from two of the most
controversial public intellects of the twentieth century: Hannah Arendt
(1906-1975), a German-Jewish philosopher and social theorist and Martin
Heidegger (1889-1976), one of the most renowned German philosophers to have
succumbed to Nazism. The subject of their romantic entanglement, in conjunction
with their political trajectories over the course of forty years, from the
mid 1920s to 1964, is the dramatic core of this play in a series of 23 concisely
scripted scenes. By Beate Hein Bennett, Edward Rubin and Larry Litt.
|DESPERATE MEASURES -- Connor Ryan as Johnny Blood,
Lauren Molina as Bella Rose. Photo by Carol Rosegg.
"Desperate Measures," a Shakespeare musical parody, is a hoot
"Desperate Measures," is a supremely clever parody that
moves the Bard's story from 17th century Vienna to the American West in
the 1800s. While continuing of course the rhyming couplets, where brusque
rhymes with dusk. The show, book and lyrics by Peter Kellogg, music by
David Friedman, is a hoot. Director and choreographer Bill Castellino
is the excellent helmsman of a cast whose dancing and singing match anything
on Broadway. By Lucy Komisar.
|THE TRUE -- Edie Falco as Polly Noonan and Glenn
Fitzgerald as Howard Nolan. Photo by Monique Carboni.
Edie Falco in "The True" sears as tough Albany Democratic machine
The dramatic piece is about a possible 1977 primary challenge
to Corning, who held power through patronage and favors to voters as a
product of the machine. Director Scott Elliott makes it a combination
soap opera and political drama. Edie Falco is powerful as the acerbic,
in-your-face, sometimes crude-talking Polly Noonan, a real operator in
Albany's Democratic Party machine politics for about four decades. White's
play suggests that whatever you think of Polly Noonan politics, she is
beneficiary of a corrupt political machine. I'm not sure she would like
this play. The audience will. By Lucy Kromer.
PHANTOM -- Kayleen Seidl as Christine
with the cast of "Phantom". Photo by John Vecchiolla.
"Phantom" (not that one) in Westchester County, NY
While some introductory background is required in a review of the
"Phantom" musical that does not append "of the Opera"
to its title, be advised upfront that the production at Westchester Broadway
(Dinner) Theatre in Elmsford, NY is a top-notch staging of the one-word
version of Gaston Leroux's serialized 1910 novel. Lavishly staged and
costumed and beautifully sung by its leads and ensemble, WBT's "Phantom"
stands very well on its own 58 feet. By Philip Dorian.
|BITEF -- "Jami District". Photo courtesy
Theatre Festival (BITEF) 2018 - Svet Bez Ljudi (World Without Us)
The Belgrade International Theatre Festival (BITEF) was founded in 1967
with the explicit goal of goading audiences to think and, ideally, to
act. This year's festival featured productions from ten countries under
the rubric "World Without Us," itself an invitation to conversation,
as the literal translation would be "world without people."
The focus seemed to be—at least in the six productions I was able
to see—a world without human kindness or decency. By Dorothy Chansky.
|TEVYE SERVED RAW (GARNISHED WITH JEWS) -- Photo courtesy
of the Playroom Theatre.
"TEVYE SERVED RAW (Garnished
"Tevye Served Raw," based on the stories of the incomparable
Sholem Aleichem, is, at times, rollickingly hilarious, at times almost
heartbreakingly sad. Although the stories date from the turn of the twentieth
century, the human conditions they explore are timeless. "Tevye Served
Raw" is far from a museum piece. The acting is always spirited, the
script and innovated direction are clever. The show has been crafted with
love for Yiddish traditions. It not only entertains, but may also motivate
you to learn Yiddish so you too can laugh before reading the supertitles.
As for the supertitles, much of the 90 minutes is in English because of
an instant on-stage translation – and the translation is part of
the comic pleasure. By Glenda Frank.
|MESHANYE -- Zeleniuch, Knight, Nelson. Photo by Asia
Strange People on Quaking Ground
- "Meshanye" by Maxim Gorky
"Meshanye," by Maxim Gorky (1868-1936) was his
first play written within less than five years of the Russian uprising
at the Winter Palace (1905). Owing much to Chekhov, the play takes place
in a family living room, within a brief period of time, with a mélange
of passionate, frustrated, depressed, cynical, and life embracing scharacters
who launch into torrents of feeling. The play is set in the home of Vasily
Bessemenov, owner of a house-painting business in a provincial town. The
central conflict is between the head of the family and his adult children.
"Meshanye" works like chamber music, in that several voices
carry the dialogue forward as characters move in and out of the space,
often overhearing each other off-stage and, as they enter joining the
conversation, they bring a new tonality. To have the opportunity to see
an excellent production of a rarely performed play by Maxim Gorky, one
of the titans of Russian dramaturgy, in a superb new translation should
need no extra incentive. By Beate Hein Bennett.
|FEATHERS OF FIRE -- Zaul and Rudabeh. Photo by Fictionville
FEATHERS OF FIRE: A Cinematic Shadowplay
from the Persian “Book of Kings” (Shahnameh)
Live-action, shadow puppetry, film, animation, music that seems
to be now live, now recorded, images of nature on which the eye gorges,
representations of good and evil, romance and tragedy, associated with
storytelling on rapidly transforming scales--now epic, now lyric, now
comic: Feathers of Fire has high theatrical ambitions indeed. It combines
moving pictures and the stage in ninety minutes of spectacle that seems
to call on story elements from every entry in Stith Thompson's folktale
motif index and that recalls the 1926 shadow-puppet animation of Lotte
Reiniger, The Adventures of Prince Achmed, with which Rahmanian became
enamored to the point of obsession and then surpassed. By Mindy Aloff.
|AGNES -- John Edgar Barker,
Mykal Monroe, Hiram Delgado, Laura Ramadai.
An emerging playwright to reckon
with: "Agnes" off-Broadway
"I don't think I know the difference between sexual harassment
and flirting" might not seem like a ground-breaking admission, but
as spoken by Charlie in Catya McMullen's outstanding new play "Agnes,"
it registers as profoundly moving.
In a prime example of Shakespeare's What's past is prologue,
each character's past influences the present: what they say and do and
how they interact. And all of it – the 'before' revelations as well
as what bubbles up in the present – is written and acted with unself-conscious
naturalism. Catya McMullen is a playwright to watch, and "Agnes"
is a good place to start. By Philip Dorian.
|CONFLICT -- Jessie Shelton as Dare and Jeremy Beck
as Tom Smit. Photo by Todd Cerveris.
“Conflict” a popular
British challenge to predatory capitalism near 100 years ago
Fascinating, writes Lucy Komisar, to see a play written in 1925
that has the politics of a play that could be written today. It was penned
by Miles Malleson, a prominent playwright, screenwriter and actor of the
time who used his work to promote progressive politics. He was a socialist,
pacifist and supporter of women’s suffrage. This is very finely,
subtly directed by Jenn Thompson.
|ROSA LUXEMBURG KABARETT -- The ensemble.
“Rosa Luxemburg Kabarett” tells stirring story of revolutionary
leftist killed by the Germans
“Rosa Luxemburg Karabett” is an historical play with
music about the life of the Russian revolutionary who became an activist
in German politics, opposed WsWI, was imprisoned and, after the war, was
murdered. The production at the Avignon Theater Festival OFF reflects
the tradition of the German political cabaret. This excellent play, in
French, is worthy of translation to reach a wider audience interested
in the development of the world’s anti-war movements. By Lucy Komisar.
|BREXIT -- Tom Corradini and Samuel Toye. Photo by
as vaudeville at Avignon
For clarity about politics, “Brexit” at the Avignon
Theater Festival does as well as any pundits. It’s a clever mime
and vaudeville comic take by a pair as a verbally dueling father and son.
Tom Corradini and Samuel Toye, the work’s authors, plays Charles,
47, and Samuel Toye is his son Eric, 25. Corradini is the director. In
a pastiche of puppets, mime and vaudevillian soft-show, they argue about
the June 2016 vote for the UK to stay or remain in the European Union.
By Lucy Komisar.
|DAYS TO COME -- Larry Bull as Andrew Rodman and Chris
Henry Coffee as worker Thomas Firth. Photo by Todd Cerveris.
Lillian Hellman’s “Days
to Come” hints at important plays of workers’ struggle
Lillian Hellman play about a labor conflict in a small town
in Ohio in 1936 has some fine moments giving hints of stronger plays such
as “The Little Foxes” where she takes on the corrupt, manipulating
rich who exploit workers. “Days to Come,” written at a time
of labor struggles across America, refers to a better future when workers
bested by violent strike-breakers will get the union and rights they are
fighting for. Based on the text, those days would be a long time coming.
By Lucy Komisar.
|GETTIN' THE BAND BACK TOGETHER -- Mitchell
Jarvis as Mitch. Photo by Joan Marcus.
"Gettin' the Band Back Together"
Lucy Komisar writes that John Rando is the best comic theater director
she knows. The creative wit who oversaw “Urinetown,” “The
Toxic Avenger,” “The Heir Apparent” and “All in
the Timing” takes a deliberately jokey rock musical by Ken Davenport
and, with excellent timing and staging, pokes fun at the genre as well
as the state of New Jersey. She doesn't much like rock, she admits. She
liked this play. (So did her editor.)
|BLYTHE SPIRIT -- Ruth (Kate MacCluggage) and Charles
"Blithe" Spirit in NJ
Shakespeare Theatre of New Jersey’s “Blithe Spirit”
comes in at a relatively compact two and three-quarters hours, including
intermission. Even at that, Noel Coward’s 1940 play will lift your
spirits. By Philip Dorian.
|Renee Taylor. Photo by Ed Rubin.
Renee Taylor in "My Life on
Most famous people long in the tooth, if they are not dead, quietly retired,
or resting on their well-earned laurels, tend keep a very low profile.
You rarely even hear about them. But not the indefatigable 85-year- old
Renee Taylor, an Energizer bunny whose funny and bittersweet autobiographical
one-woman-show, "My Life On A Diet," is currently playing to
full houses at St Clement’s Theatre here in New York City.
|Jill Eikenberry and John Glover
“Fern Hill” is Michael Tucker’s second full-length play
to premiere at NJ Rep, after “The M Spot” in 2015. Like the
earlier play, “Fern Hill” explores emotional and physical
(read: sexual) relationships, this time among three couples – not
as in swingers, I hasten to add, but three pairs with their own histories
and hang-ups. The six actors have amassed thirty-five Broadway credits
among them, with six Tony Award nominations (and a win) to boot. By Philip
|Eli Gelb and Idina Menzel. Photo by Joan Marcus.
"Skintight" Has Love, Lust, Beauty
and Idina Menzel
The star and calling card of "Skintight" which gives the play its commercial
legs, is Idina Menzel (Rent, Wicked, If/Then) in her first non-singing
role. Joshua Harmon’s provocative and wonderfully wordily written
wailings about the joy of sex, emotionally delivered by a major character
or two, do give us something to mull over, which is more than most playwrights
have to offer. By Ed Rubin.
| HEAD OVER HEELS -- Peppermint (center)
as Pythio, The Oracle of Delphi and the ensemble. Photo by Joan Marcus.
“Head Over Heels” Creates
a Topsy-Turvy World
Jeff Whitty’s new musical, Head over Heels, is both a parody and
a tribute to Sir Phillip Sidney’s “Arcadia.” By Paulanne
|Stanley Allyn Owen (Tarzan) and Leopard. Photo by
Tarzan the Stage Musical
While the popularity of Tarzan films has dwindled over the years, replaced
by humongous money-making superhero franchises like Batman and Spider-Man,
theatrical productions of Tarzan, The Stage Musical, especially among
high schools and community theaters, are still being mounted. A recent
example is The Atlanta Lyric Theater’s acclaimed production of Tarzan,
The Stage Musical, which Ed Rubin had the good fortune to attend late
in the run.
|Anika Noni Rose as Carmen Jones. Photo
by Joan Marcus.
At Classic Stage, splendid “Carmen
Jones” places black wartime workers in Bizet’s opera
“Win That War!” sing workers in a parachute factory in a town
about 1,000 miles south of Chicago. It’s a striking transformation
of Georges Bizet’s opera “Carmen,” about a worker in
a Spanish cigar factory in 1820, to wartime US in 1943 with a book and
lyrics by Oscar Hammerstein II. The “Carmen” triangle is still
a sultry tangle between Carmen and a military guy, now army instead of
militia, and a big-time prize fighter replacing the toreador, the word
Bizet’s French opera invented to mean torero (bull fighter) because
it had the right syllables. Hammerstein reset the story with a black cast,
and this is the first major New York revival since its debut on Broadway
75 years ago. Elegantly directed by John Doyle, this is an intimate production
in the Classic Stage’s small theater in the square, a chamber opera
where you can practically touch the performers. By Lucy Komisar.
"Conflict" at the Beckett
In “Conflict” (1925), we meet Lady Dare Bellingdon (Jessie Shelton),
the spoiled daughter of a powerful, conservative father (a patrician Graeme
Malcolm). She lunches, she shops, she gossips, she clubs past 3 AM, and
Major Sir Ronald Clive (Henry Clarke), who plans to run for Parliament,
her beau, adores her. A homeless man, Tom Smith, (Jeremy Beck), who breaks
into her father’s London residence, will change her life. In rags,
he has come for a handout although he and Clive were once schoolmates at
Cambridge. Bellingdon and Clive condemn him roundly but offer generous alms.
Tom Smith’s next visit is even more surprising. By Glenda Frank.
Shelton and Jeremy Beck. Photo by Todd Cerveris
"The Dog in The Dressing Room"
at The Schoolhouse Theater
Who doesn’t love a backstage drama? The revelations behind the scenes
are the drama in favorites like “Phantom of the Opera,” “Kiss
Me Kate,” and “Noises Off.” “The Dog in the Dressing
Room,” a backstage comedy by Deborah Savadge, is now debuting at
The Schoolhouse Theatre, Westchester County’s longest running Equity
Theatre, on June 14 and will play through July 1. Games, secrets, old
wounds, stalking, champagne, a canine, and love play their parts in this
smashing comedy. By Glenda Frank.
|Caption: Felicia Finley and the company
"Songbird" at Two River
“Songbird” is based, subtly and effectively, on Russian dramatist
Anton Chekhov’s “The Seagull,” an 1896 play you need
not have seen or read (or even heard of) in order to appreciate this multi-faceted
hoedown derivative. Coupled with Michael Kimmel’s affecting book
(and a nudge from a Century-plus-ago playwright), “Songbird”
is a rare blend of foot-stomping rhythms and heart-tugging emotions, that
Two River Theater Company is serving up with style. By Philip Dorian.
|Corey Stoll as Iago and Chukwudi Iwuji
as Othello, photo Joan Marcus.
Public Theater’s “Othello”
at Delacorte Theater
Shakespeare’s “Othello” at the Delacorte Theater in
Central Park seemed more about racism to me than it ever had before. Under
the clear, commanding direction of Ruben Santiago-Hudson and featuring
the mesmerizing, almost painfully gut-wrenching acting of Chukwudi Iwuji
as Othello, you imagine what a lifetime of racial slights has done to
his judgment and trust. By Lucy Komisar.
|Catherine (Maggie Horan), left, Eddie
(Rich O'Brien) and Beatrice (Claire Beckman). Photo courtesy of Brave
New World Repertory Theatre.
"A View From The Bridge"
on a barge in Red Hook
Brave New World specializes in site-specific productions, and mounting
“A View from the Bridge” on a barge actually afloat on the
Red Hook, Brooklyn waterfront, is inspired. The ‘Waterfront Museum
& Showboat Barge’ is covered over and cleaned up some from its
seafaring days, but its original weathered deck and spars are intact.
One can only wish that Miller, who died in 2005, were still around to
sneak up the gangplank into a performance. By Philip Dorian.
|Photo of Tony Yazbeck and Irina Dvorovenko
"The Beast in
the Jungle" at Vineyard Theatre
Directed and choreographed by Susan Stroman, this adaption of Henry James’s
1903 novella “The Beast in the Jungle” is a melancholy treatise
on unrealized romance and thwarted passion that unfolds in James’s
characteristically elaborate prose. The same-titled theater piece inspired
by the story is essentially a ballet, with intermittent narration and
some spare-dialogue passages. By Philip Dorian.
|TRAVESTIES -- Peter McDonald as James Joyce, Tom
Hollander as Henry Carr, Scarlett Strallen as Gwendolen and Sara Topham
as Cecily. Photo by Joan Marcus.
“Travesties” is a glorious kaleidoscope of famous people,
fiction and events that converge in Zurich during World War I and raise
questions about radical politics, the meaning of art, and the validity
of memory to link it all. By Lucy Komisar.
|J. Alphonse Nicholson and Kristolyn Lloyd. Photo
by Joan Marcus.
“Paradise Blue” focusses on what happens when a jazz joint
in Detroit’s Blackbotton neighborhood is thrown into turmoil thanks
to 1940s gentrification; the erratic behavior of Blue (J. Alphonse Nicholson),
the club owner; and the arrival of a sexy and dangerous woman named Silver
(Simone Missick). By Paulanne Simmons.
|Condola Rashad as Saint Joan. Photo by
Bernard Shaw was a feminist. And a religious skeptic. Who better than
to tell the story of Saint Joan? How do you do that when you are a socialist
and not a militarist? You focus on the hypocrisy of the religious establishment,
that had no problem with war, but only with who keeps power. By Lucy Komisar.
Two views of "My Fair Lady"
Paulanne Simmons writes that from Catherine Zuber’s
elegant costumes and Michael Yeargan’s sumptuous set, to the delightful
interpretation of Lerner and Loewe’s magnificent score brought to
life by Ted Sperling’s musical director, Robert Russell Bennett
and Phil Lang’s arrangements, and Marc Salzbeg’s sound design,
Lincoln Center’s “My Fair Lady” is a treat for the eyes
and ears. Lucy Komisar adds that this time there’s a feminist
kick. And some class solidarity. Bartlett Sher's progressive production
brings the musical back to its roots with references to the women's suffrage
movement. Sher is attentive to George Bernard Shaw's intentions to comment
on class disparity and social inequality. With wonderful direction, vocals,
and set design, this comedy of manners is sure to delight.
|Renee Fleming as Nettie Fowler and company. Photo
by Julieta Cervantes.
“Carousel” is a gorgeous show with a hokey, simplistic, no-politics
story, says Lucy Komisar. The vocals are thrilling, led by opera diva
Renée Fleming who presents her solos as if they were arias. And
the naturalistic sets by Santo Loquasto, from the top of the merry-go-round
to whaling boats in the sea and lobster cages are entrancing. It’s
a gorgeous show, if you forget the story.
|Brian Tree Henry as William, Beth Powley as Dawn,
Michael Cera as Jeff, Chris Evans as Bill. Photo by Joan Marcus.
Two views of "Lobby Hero"
It hardly seems possible that a play about murder, rape and police corruption
could be even remotely amusing. Yet, in many ways, Kenneth Lonergan’s
“Lobby Hero” might be the funniest show on Broadway this season.
Paulanne Simmons and Lucy Komisar weigh in.
|Glenda Jackson, Alison Pill and Laurie Metcalf in
"Three Tall Women." Photo by Brigitte Lacombe.
Two views of "Three
Tall Women," 2018
It’s only a few months before the 26th anniversary of the first
American appearance of Edward Albee’s masterpiece, "Three Tall
Women," yet we’ve seen surprisingly few revivals. It’s
admittedly difficult to perform, but hundreds of our high schools have
performed the extremely demanding constant dance numbers of "A Chorus
Line" without even one cast member who can really dance. Certainly
those who love Albee’s plays can rejoice at this masterful new version.
The legendary actress Glenda Jackson—who returned to the stage after
28 years in England’s Parliament and got raves playing King Lear
in Shakespeare’s play with The Royal Shakespeare Company—stars
with two admired, award-winning American actresses. And it’s gorgeously
designed (Miriam Buether) as well as excitingly directed by Joe Mantello,
one of Broadway’s most honored directors. Herbert Simpson and Lucy
Komisar weigh in ambivalently. Lucy writes she'd love to see a feminist
“Three Tall Women, Part 2.”
Gray as Papa Ge. Photo by Joan Marcus.
"Once on this Island" is a Gorgeous
Folk Opera About Color and Class in the Caribbean
Called a charming, surreal, and politically sharp-edged play, Lucy
Komisar advises audiences not to arrive late to this production. Full
of magical realism created by director Michael Arden, this charming folk
opera is about class and race. By Lucy Komisar.
Rylance as King Phillippe V in the Shakespeare's Globe production
of "Farinelli and the King." Photo by Joan Marcus.
Two Views of mark Rylance in "Farinelli
and the King"
Edward Rubin thought no one could rescue Rylance from his wobbly
and unsatisfing portrayal of Phillipe V. However, Lucy Komisar thought
this was a thrilling performane. See how the two compare. By Edward Rubin
and Lucy Komisar.
Lenk as Dina and Tony Shalhoub as Tewfiq in
The Band's Visit. Photo by Matthew Murphy.
"The Band's Visit"
When a musical transfers from off-Broadway to Broadway, there
are always a few essential questions. Will the production work on a bigger
stage? Will the sound fill a larger house? Will the show be true to the
original, even with new members in the cast? Happily, The Band’s
Visit, helmed by David Cromer, answers all these questions with a resounding
yes. By Paulanne Simmons.
|SPAMILTON: Putting down Phantom,
Aladdin and Cats. Photo by Carol Rosegg.
The fellow on stage looks familiar. He wears an 18th-century
blue coat and gold buttons and is rapping. In Alessandrini's "Spamilton",
an affectionate pastiche of Broadway heroes which will ring true with
any seasoned audience. Laugh along as Alessandrini spoofs on "The
Lion King," "Cats" and of course "Hamilton" itself.
If you can't get tickets to that particular constitutional classic, "Spamilton"
will keep you smiling for days. By Lucy Komisar.
|Bette Midler as Dolly Gallagher Levi and waiters at
the Harmonia Gardens. Photo by Julieta Cervantes.
Aaah, hmmm, but we'll bette you'll
love it too.
“Hello Dolly” with Bette Midler is outdated on feminism and
talent. But the audience loved every starpower minute of it. By Lucy Komisar.
|The famous helicopter escaping the fall
of Saigon, and Vietnamese desperate to get on it. Photo by Matthew Murphy
Miss Saigon is Back
Claude-Michel Schönberg and Alain Boublil found worldwide success with
“Les Misérables,” a drama of the political. The personal
stories were of Jean Valjean, the man imprisoned for stealing a loaf of
bread, and the masses of the oppressed he represented. There was a minor
love story. But in “Miss Saigon,” the star-crossed lovers are
the major focus, with the crisis of America’s war in Vietnam and how
it destroyed the country just a backdrop. So, this play is often hokey and
not very satisfying. By Lucy Komisar.
|Tina Benko as Calpurnia, Gregg Henry, Teagle Bougere
as Casca and Elizabeth Marvel as Marc Antony. Photo by Joan Marcus.
The Public’s “Julius
Caesar” brilliantly trolls Donald Trump, and masses “resist”
Oskar Eustis, director of a mesmerizing Public Theater staging of Shakespeare’s
play about taking down an incipient dictator, says that “Julius
Caesar can be read as a warning parable to those who try to fight for
democracy by undemocratic means. To fight the tyrant does not mean imitating
him.” By Lucy Komisar.
|Serhiy Zhadan performing song inspired
by Timothy Snyder's book "On Tyranny." Photo by Waldemart
Zhadan & the Dogs
It is a truism to say that our present world is in turmoil. Most
of us are reeling from news about bombings, civil wars, millions of refugees
migrating over the face of the earth, while fanaticism, nationalism, racism,
xenophobia is grabbing the psyche of young and old. And the sense of political
impotence alternates with rage about signs of backsliding into tyrannical
modes of governance propped up by corruption and cronyism. However, a
fighting spirit has also emerged among peoples. The present production
at La Mama presented by the Yara Arts Group, conceived and directed by
Yara’s Artistic Director Virlana Tkacz, has brought together Ukrainian
and American performing artists that take us through a compendium of political
activism with music, movement, poetry and video imagery. By Beate Hein
|Gordon Palagi in "The Cooping Theory: Who Killed
Edgar Allan Poe?"
The Cooping Theory: Who Killed
Edgar Allan Poe?
Unlike most immersive experiences, “The Cooping Theory: Who Killed
Edgar Allan Poe?” offers not only sounds and sights but also a delicious
meal and craft cocktails. By Paulanne Simmons.
|Jonathan Sayer as the butler Perkins pouring liquor
down the phone. Photo by Jeremy Daniel.
“The Play That Goes Wrong”
One of the stars of this play is not human. It’s the set for the
riotous slapstick comedy put on by (real) British actors about a disastrous
production of “The Murder at Haversham Manor” by a fakeuniversity
drama society. Sometimes slapstick is silly, but this is exceedingly clever.
By Lucy Komisar.
|Christy Altomare as Anya, and ghosts of the past. Photo
by Matthew Murphy.
Complex, fascinating and gorgeous, this fantasy tale of the young woman
who might be the surviving daughter of Czar Nicholas of Russia is a colorful
musical mystery with elegant singing, marvelous dancing and costumes that
light up the stage. With a book by Terrence McNally, music by Stephen
Flaherty, and lyrics by Lynn Ahrens, it features the top talents of Broadway.
That goes for director Darko Tresnjak and choreographer Peggy Hickey,
who have “big Broadway show” written all over them. “Anastasia”
a fine colorful big-musical Russian Romanov princess fantasy. By Lucy
2 Views of“Come From away"
“Come from Away,” a new musical by Irene Sankoff
and David Hein at the Gerald Schoenfeld Theatre, is based on the true
story of the almost 7,000 stranded passengers from 38 flights who were
not permitted to cross into the United States on Sept. 11 and landed in
the small town of Gander, population 9,000. By Glenda Frank and Lucy Komisar.
|Nick Cordero as Sonny, Hudson Loverro as Calogero.
Photo by Joan Marcus.
“A Bronx Tale"
It’s a knock off of “West Side Story,” here
Italians vs blacks, and very hokey, but “A Bronx Tale” has a
certain charm and pizazz nonetheless. The place is Bedford Avenue, tenements
with fire escapes and pushcarts. And kids singing doo-wop. They are working
class Italians, circa 1960.“A Bronx Tale” is musical coming
of age with a twist: kid grows up among hoodlums By Lucy Komisar.
| Katrina Lenk as Dina, Tony Shalhoub as the conductor.
Photo by Ahron R. Foster.
“The Band’s Visit."
An Egyptian police band, the grandly named Alexandria Ceremonial
Police Orchestra, is supposed to play at an Arab cultural center in Israel,
but gets the town’s name wrong at the bus station and ends up in
an Israeli backwater. “The Band’s Visit” is a charming
gem about human connections across political divides. By Lucy Komisar.
"A Bronx Tale"
Since “A Bronx Tale” has already been a solo show
and a film, it might have been inevitable that it eventually become a
musical. This is not necessarily a terrible thing. In fact, the show currently
at the Longacre Theater is not at all bad. By Paulanne Simmons.
museums by day,
theater by night
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