The first Broadway revival of Miss Saigon is being marketed as the return of a classic. But, if the show has become an undeniable fan favorite, the production’s impressive visual spectacle, lively staging and crowd-pleasing vocal calisthenics cannot completely mask a script that leans heavily on emotional manipulation and one-dimensional storytelling.
Danny DeVito, making his Broadway debut, gets the best deal out of The Price. Arthur Miller is not a playwright known for comically colorful characters, yet here’s DeVito as Gregory Solomon, a Jewish acrobat turned 89-year-old used furniture dealer who “smoked all my life, I drinked, and I loved every woman who would let me.” […]
Come From Away tells the story of the 9,000 residents of Gander, Newfoundland who took care of some 7,000 passengers and crew of 38 airplanes which were forced to land at the local airport because of the September 11, 2001 attacks.
Sam Gold, the innovative director who won a Tony for Fun Home, has cast Sally Field in a new Broadway production of Tennessee Williams’ The Glass Menagerie that doesn’t include a glass menagerie! And that’s among the least intrusive of Gold’s directorial choices, which theatergoers weaned on Williams must struggle to reconcile with the playwright’s […]
The Tooting Arts Club’s exceptionally entertaining production of Sweeney Todd, Stephen Sondheim and Hugh Wheeler’s glorious murderous musical, began in 2014 in Harrington’s, one of London’s oldest working pie shops. An impressively detailed replica of Harrington’s has now set up shop Off-Broadway at the Barrow Street Theater, including the pies.
The Penitent, David Mamet’s latest play, is about the ethical dilemmas facing a psychiatrist whose patient has gone on a killing spree. At least that’s what it seems to be about, but audiences might well identify with the psychiatrist’s wife when she says to him: “You must be holding something back. Or else I’m stupid.” […]
There is one song by John Kander in Kid Victory that recalls the composer’s collaboration with Fred Ebb in both Cabaret and Chicago – “What’s the Point?” a jaunty, satiric tap-dance. It’s one of the few such moments in Kander and Pierce’s somber, often harrowing musical, now Off-Broadway, about the aftermath of a kidnapping. Go […]
“The theatre is gone, but there are new things now,” says Matthew Broderick in Wallace Shawn’s chilling comedy, which imagines a dystopian but familiar society where former theatre people have gone on to television, or to a day job, such as murderer. “My paycheck arrives with complete regularity,” says an ex wardrobe supervisor turned assassin.
There are three great reasons to see the New York stage debut of Man From Nebraska, without even knowing what it’s about: Its author Tracy Letts (August: Osage County), its director David Cromer (Our Town), a cast that features Reed Birney (The Humans.) These remain even when you learn it’s about a man’s mid-life crisis.
Yen, a bleak British play that opens tonight Off-Broadway, stars Lucas Hedges, Oscar-nominated last week for his role in Manchester by the Sea, and Justice Smith, of the Netflix hip-hop drama The Get Down, as two teenage brothers living alone, with no school, no friends, little food and one t-shirt to share between them.