Wakka Wakka, the theater company behind Made in China, says the show is “inspired by true events.” I suspect the true part doesn’t include Mary and her neighbor getting sucked down her toilet and winding up in the People’s Republic of China, where a dragon eats them.
About halfway through The Present, an adaptation of Chekhov’s first play, Cate Blanchett, as a Russian general’s widow celebrating her 40th birthday, shoots off a shotgun, dances atop a table, and pours vodka on her head. It is an attention-grabbing moment in Blanchett’s Broadway debut performance – and one of the show’s few unmitigated pleasures.
The strength of Confucius, a 90-minute dance piece featuring 60 performers from the China National Opera and Dance Drama Theater, is not found in its efforts to present Confucian philosophy and biography, nor even Chinese history and culture, none of which are especially illuminating. The show’s strength lies in its visual splendor and gymnastic choreography.
Among the worthwhile moments I saw on stage in 2016, a surprising number became more memorable because of off-stage events. It’s impossible now to remember the Radio City Rockettes performing to Singin In The Rain (in the video below), without thinking of Debbie Reynolds, who became a star at age 19 because of the movie […]
My list of ten favorite shows on New York stages in 2016 reflect two unmistakable trends – the use of the stage to present important current issues facing the country, and shows that innovate in artistic form. If these seem like very different trends, an argument can be made that they are both in reaction […]
While the Othello at the New York Theatre Workshop can be uncomfortable and even annoying, it is impossible for me to dismiss Sam Gold’s often startlingly effective production, even when David Oyelowo and Daniel Craig’s ultimately thrilling performances are initially in danger of being upstaged by the lighting and the seats.
A caring, open-minded producer and perceptive, engaged audience members played crucial roles in the success story of the original new Broadway musical Dear Evan Hansen’s journey from page to stage. That is what a group of theater critics learned recently during this year’s American Theatre Critics Association’s mini conference in New York City.
In Transit is the first a cappella musical on Broadway, and the rich harmonies and rhythmic beatboxing of a cappella evangelist Deke Sharon’s arrangements reveal the human voice as the most flexible of musical instruments. Unfortunately, the freshness of the voice-only orchestra doesn’t completely compensate for the flat familiarity of much else in the musical.
Dear Evan Hansen has changed now that it’s on Broadway, in ways that make it an even more affecting musical. Ben Platt’s performance, impressive from the get-go, is even better. But what’s changed the most is the world outside the theater, turning the story of a lie that gets out of hand into something more […]
Leigh Silverman, director of the 50th anniversary Off-Broadway revival of Sweet Charity starring Sutton Foster, recently spoke about art being “a tool for education, revolution, and resistance.” But it’s also, she said, great for escape: “People staggered into Sweet Charity desperate for community..and to be lifted away from this reality” the weekend after the election. […]