If that long-promised revival of Smokey Joe’s Cafe does come to Broadway this year, the producers could do worse than to put Patina Miller front and center — assuming they can afford her now that she’s got a Tony Award, a TV series and a couple of Hunger Games blockbuster credits under her belt.
Two detainees, two cops, two (or is it three?) gruesome child-murders — that’s the triad of pitch-dark dualities that underpin The Pillowman, a Grimm-ly funny brothers-in-extremis fable that earned a best-play Tony nomination a decade or so ago for black-hearted Irish dramatist Martin McDonagh.
The real fun of a cabaret is in the surprises. Not the necessary moments, as when a Karen Akers rolls out “Marieke” or a Patti LuPone throws an Argentine bone to the fans worshipping at her balcony, but the inspired and unexpected ones — think of Elaine Stritch, heaven rest her, ruefully admitting “The Party’s […]
There’s leaning on the innuendo in a largely innocent song, and then there’s what Tracy Lynn Olivera has done with “Brand New Key” — and what Tracy Lynn Olivera has done with “Brand New Key” is take a bouncy ‘70s novelty hit and paste a bodacious ‘70s pornstache on it. I’d have rolled my eyes […]