A View From The Bridge, one of Arthur Miller’s most popular plays, has been on Broadway four times before, most recently just five years ago, starring Liev Schreiber and Scarlett Johansson in an impressive Broadway debut.
Two separate revivals of plays by Arthur Miller on the centennial of his birth illustrate two core aims of his work: “I could not imagine a theater worth my time that did not want to change the world,” he said. And: Playwriting is “a kind of license to say the unspeakable….”
Misery on Broadway is the latest adaptation of Stephen King’s story about a writer who’s imprisoned by a berserk fan. It’s not as good as either King’s novel nor the movie, but it’s likely to appeal to those who don’t know either, and to the number one fans of Bruce Willis.
Some 120,000 Japanese-Americans were incarcerated a few months after Pearl Harbor, by order of President Roosevelt. George Takei and his family were among them. The actor, best known as Sulu in Star Trek, is the reason why the musical Allegiance is finally bringing this shameful chapter of American history to life on Broadway.
Kwame Kwei-Armah, the artistic director of Center Stage, has been leaving Baltimore over the past few weeks to go to prison in New York. He’s also been busy in homeless shelters and recreation centers in all five boroughs. Kwei-Armah is directing an exuberantly playful Comedy of Errors for the Public Theater’s Mobile Shakespeare Unit.
From the first moments of On Your Feet, the Broadway musical celebrating the life and music of Emilio and Gloria Estefan, I thought: This show is sure to be a hit despite what any critics say. But it was the bar mitzvah scene that clinched my prediction.
Is there some reason why an American audience should care about the future of the British monarchy? That’s the question that hangs over King Charles III, playwright Mike Bartlett’s cleverly conceived play, simultaneously stately and subversive, that imagines what will happen after the death of Queen Elizabeth II, when the Prince of Wales ascends the […]
Nobody applauds Keira Knightley when she first appears on stage for her Broadway debut in Thérèse Raquin. The audience doesn’t recognize her; she’s in the background under faded light, the third character in what is mostly a two-character scene in the breathtaking adaptation of Emile Zola’s breakthrough novel of adultery and murder.
Annaleigh Ashford has starred on Broadway in Wicked, Legally Blonde, Hair and Kinky Boots; accepted a Tony for what she called “the worst dancing that ever happened on Broadway” and portrays the ex-prostitute in the Showtime series Masters of Sex. All that has led to Sylvia, where Ashford is the best show dog ever.
At the curtain call it struck home what’s special about the first Broadway production of Dames at Sea, the 1930’s musical created in the 1960s: Only six performers take bows. Busby Berkeley used casts ten times larger to do much the same show. But there’s the rub: It’s much the same show.