The Dramatist Guild Foundation held its first annual “toast” concert in honor of composer Stephen Schwartz’s 70th birthday and the New York Pops marked its 35th annual gala by honoring composer Alan Menken.
FEATURE: 2018 Tony Nominations
Take a look at the 2018 Tony Award Nominations - I highlight some surprises, snubs, and quirks.
Christiani Pitts and Eric William Morris to star in "King Kong"; Classic Stage Company announces its 2018-2019 season; a good read on classical music; Chita Rivera, Andrew Lloyd Webber, and Sara Krulwich to receive special awards; nominees for the Outer Critics Circle Awards, Off-Broadway Alliance Awards, and the Drama Desk Awards; Soon-Tek Oh dead at 85; Jeanette Gertrude dead at 103
REVIEWS: “Bobbie Clearly”, “Miss You Like Hell”, and “Transfers”
A roundup look at three shows that opened Off-Broadway in April. Roundabout’s “Bobbie Clearly” struggles with tone while the Public’s “Miss You Like Hell” is lovely but muted. I highly recommend MCC Theater’s stunning “Transfers”.
REVIEW: Public Theater Mobile Unit’s “Henry V”
The Public Theater's Mobile Unit presents a free production of “Henry V” for a short sit down at the Public following a 20 stop tour through the five boroughs. It’s bare bones and thrilling, infused with comedy by director Robert O’Hara. A comedic history play? Purists should stay away. Those looking to ease into Elizabethan text should check it out.
REVIEW: “Summer: The Donna Summer Musical” is Not Hot Stuff
“Summer: The Donna Summer Musical” is a flat and soulless jukebox tribute to the “Queen of Disco” that disgraces the genre she created by offering thin orchestrations, inauthentic choreography, and a song listing that includes too many obscure cuts from later in her career. LaChanze’s radiant performance is not enough to salvage this joyless and unfocused show. Save your money and listen to Summer’s iconic songs instead.
"Hello, Dolly!" to close in August 25th following return of Bette Midler and David Hyde Pierce; "To Kill a Mockingbird" lawsuit intensifies; Martyna Majok wins the 2018 Pulitzer Prize for Drama; “Hadestown” to play London then Broadway; "Empire Records" and "Nanny McPhee" will be musicals; Sara Bareilles and Josh Groban to host the Tony Awards; 2018 Drama League nominees
REVIEW: “Harry Potter and the Cursed Child” is Pure Magic
Harry Potter makes his Broadway debut in a new play that is an astonishing thrill ride packed with plentiful twists and turns in a production that marks a triumph of stagecraft and skillfully captures the spirit and sensibility of the beloved book series and film franchise. “Harry Potter and the Cursed Child” is pure magic, and a must-see for any Harry Potter fan or acolyte.
REVIEW: “The Metromaniacs”—comedic mania in verse
David Ives “translaptates” another obscure, 18th century French comedy in “The Metromaniacs”. This delicious romp is heady, frothy, and just downright fun; never mind the convoluted plot, just sit back and enjoy the clever wordplay and witty verse. No one does it better. If you like to laugh, this play is for you.
REVIEW: A smashing, feminist “My Fair Lady” starring Lauren Ambrose
Lincoln Center Theater delivers a grand, first rate, feminist revival of Lerner and Loewe’s classic musical, “My Fair Lady”. Perfectly keyed to this moment while honoring the greatness of its text and score, director Bartlett Sher hits another home run, and Lauren Ambrose and Harry Hadden-Paton give smashing, revolutionary performances as Eliza Doolittle and Professor Higgins. A great revival of a great musical to end the season on a high note.
REVIEW: Matthew Broderick in “The Seafarer”
Conor McPherson’s “The Seafarer” receives a well-appointed and otherwise finely acted revival by the Irish Repertory Theatre that is besmirched by the miscasting of Matthew Broderick as a Mephistophelian antagonist central to the plot.
REVIEW: “Rocktopia”
“Rocktopia” is a one-trick rock concert in which snippets of top-shelf, survey deep classical compositions are mashed-up with and swallowed whole by beloved rock songs from the 1970s and 1980s. Garishly self-indulgent, sublimely absurd, bland, and loud, you can skip this well-intentioned musical experiment gone awry.