"Harry Potter" is the most expensive non-musical in Broadway history; Roundabout announces "Bernhardt/Hamlet" and "Toni Stone"; Kenneth Lonergan's "The Waverly Gallery" headed to Broadway; "Torch Song" cast will transfer to Broadway in tact; Joe Iconis' musical "Be More Chill" will finally receive a New York production this summer; Actors' Equity campaigns for two new Tony categories; The Weinstein Company loses film rights to "Pippin" and "In the Heights"; director and choreographer Donald McKayle is dead at 87
REVIEW: “Così fan tutte” at the Met Opera
The Met Opera presents a terrific new production of Mozart's "Così fan tutte" set in 1950s Coney Island and featuring Broadway's Kelli O'Hara. Only two more chances remain in this season to see this wonderful comedic opera.
REVIEW: Rodgers and Hammerstein’s “Carousel”
Rodgers and Hammerstein’s “Carousel” is back on Broadway in a big, bold, and beautiful new production that is both soaringly operatic and heart-wrenchingly intimate, thanks to a quintet of smashing principal performances, stunning choreography, enchanting sets, and a generously sized orchestra. Great musicals of the golden age deserve to be seen; pay a visit to this glorious “Carousel”.
REVIEW: “Children of a Lesser God”
“Children of a Lesser God” is one play whose sell-by date has definitely passed; even given embers of a still burning debate about deaf culture and identity, this plodding and clinical revival is dull, stale, unremarkable, and problematic in its treatment of a relationship between a deaf student and her teacher. Despite strong performances by TV’s Joshua Jackson and deaf actor Lauren Ridloff, skip this one.
REVIEW: “This Flat Earth”
“This Flat Earth”, by Lindsey Ferrentino, unintentionally taps into the headlines to explore what happens when a school shooting shatters the world of a 13 year old survivor; while good ideas and questions abound, the play is unfocused and unrealistic, too lightly sketching its characters and lacking a central, cohesive, and convincing point of view.
MCC's "School Girls" returning this fall; pre-Broadway "Moulin Rouge! The Musical" announces cast; "Anastasia" faces copyright lawsuit; Broadway community to stage benefit concert for the Marjory Stoneman Douglas Victims' Fund; Lucille Lortel Award nominees and Olivier Award winners
REVIEW: “Mean Girls” is fetch!
Tina Fey’s “Mean Girls” the musical is a triumphant burst of high-energy fun, artfully written and brilliantly executed. This stage adaption is every bit as funny as the now-iconic 2004 film, and even more effective at delivering its message of self-confidence and kindness, thanks to good writing, great design, a boffo cast, and the guiding hand of director/choreographer Casey Nicholaw. In a season of too few musicals, “Mean Girls” is a standout.
NOTES: “King Lear” at BAM
The Royal Shakespeare Company is at the Brooklyn Academy of Music’s Harvey Theater with the U.S. premiere of their well-appointed 2016 production of “King Lear”, starring Sir Antony Sher. Director Gregory Doran presents a stately and unfussy production with a refreshingly diverse ensemble and striking visuals.
REVIEW: Billie Piper astounds in “Yerma”
The Park Avenue Armory imports The Young Vic’s visceral, cinematic, and disturbing production of “Yerma” by Simon Stone, starring Billie Piper, who performs an astounding portrait of a woman’s descent into madness fueled by infertility. Do what you can to see this heart-stopping and jaw-dropping play.
REVIEW: “Goldstein”
“Goldstein” is an intimate, delightful, and tender new musical about familial bonds amid changing times; excellent performances and a classic 1960s musical theatre score make up for a lackluster book and underwhelming production values. Still, it is sweet, heartwarming, and relatable.
Stephanie J. Block to headline "The Cher Show"; Drew Gehling will star in "Dave"; "Beetlejuice" headed to D.C. and "Beaches" to London pre-Broadway; the Griswolds will get a "Vacation" musical; important article about sexual harassment in the theatre community
REVIEW: The Bengsons are back in “The Lucky Ones”
The Bengsons follow up on “Hundred Days” with another musical docu-concert, “The Lucky Ones”, which serves as a sort of prologue or prequel. Abundantly surprising, deeply intimate, and simply gorgeous, they have created another wonderful show that brims with rawness, honesty, and humanity.