“Shuffle Along is jazzy, tuneful, full of pep,” says one of the rave reviews from 1921 printed on the curtain during intermission at the Music Box Theater, where George C. Wolfe has mounted a revival of the all-black musical that deserves far more exuberant praise than “full of pep”: It is cataclysmically entertaining.
Jesse Tyler Ferguson, Mitchell on “Modern Family”, is starring on Broadway in Fully Committed, portraying Sam, a struggling actor who works as a reservations clerk at a trendy Manhattan restaurant, as well as some 40 characters with whom Sam interacts. It’s a soufflé of a show being sold as a full expensive meal.
“None of us can help the things life has done to us,” Jessica Lange says as Mary Tyrone. Mary is talking about one of her sons, a drunk, but she herself, a convent girl who married a matinee idol, has become a morphine addict. At the end of the night, she will descend into madness.
The members of the Tuck family spend two hours trying to explain why it’s a curse to live forever, but it is only in the final 15 minutes of Tuck Everlasting that the musical drives home what a blessing it is to be mortal. It does this with an extraordinary, wordless ballet.
There are good reasons to savor Waitress, the sweet and tart new musical confection about love and pie, deliciously performed at Broadway’s Brooks Atkinson Theater. Some of the reasons have nothing to do with what’s on stage.
American Psycho, a musical about a fashion-conscious serial killer, is not the most misbegotten show ever on Broadway. It only feels that way for a couple of moments – such as the production number that features zombie-like movements by half-naked cast members smeared in blood.
In one way, Hamilton Clancy has outlived William Shakespeare, who died 400 years ago this week at the age of 52. Clancy is older than that. But Clancy has also died many times, and it’s all thanks to the Bard. “My very first death was easy: Mercutio in Romeo and Juliet,” says Clancy. “I died […]
Nathan the Wise, a fascinating old play that recalls an era when Jews, Muslims and Christians got along, begins at Classic Stage with an acknowledgement of the present: All the actors are arguing (in Arabic, Hebrew, Latin, German) — until F. Murray Abraham quiets everybody (in English): “We have a story to tell.”
In Head of Passes, Phylicia Rashad portrays Shelah, a woman so religiously devout she objects to Deviled eggs. Her faith is tested in the Public Theater’s well-acted, richly atmospheric production of Tarell Alvin McCraney’s play, which is inspired by the Book of Job. But the audience’s faith is also tested, in several ways.
Dry Powder is a play about a private equity firm that tries to buy a luggage company, but it is not as dry as it sounds, and not just because its cast includes John Krasinski (formerly of The Office), Claire Danes (Homeland) and Hank Azaria (The Simpsons), and it’s directed by Thomas Kail (Hamilton.)