A tribute to Oscar Hammerstein is a wonderful idea, but “Sincerely, Oscar” is an ill-conceived, self-indulgent, cringe-inducing, glorified cabaret act that is easily one of the worst productions I have seen on a New York stage in recent memory. Skip it.
To see Heidi Schreck’s “What the Constitution Means to Me” is to participate in an act of resistance, of reclaiming hope for the future by doing the hard work of grappling with the past. Part civics lesson, part memoir, Schreck recounts her formative experience of wrestling with the constitution’s meaning as a teenager through the lens of her adult self, the women in her family, and the bitterly divided nation it serves. It is the most important play of this or any season—an act of profound social consciousness expanding, community building, and democratic participation—and a must-see.
Bebe Neuwirth and Brandon Victor Dixon to announce the Tony Award nominations on April 30th; Sutton Foster will star in the 2020 Broadway revival of "The Music Man"; Disney to produce a musical adaption of "The Princess Bride" with a score by David Yazbek and a book by Rick Elice and Bob Martin; Second Stage Theater announces 5 out of 7 shows for the 2019-2020 season; the 2018 Broadway revival of "Angels in America" to receive audio recording; "Alice by Heart" records a cast album; Alexander Gemignani replaces Danny Burstein in "My Fair Lady"; TLC musical in development; new film adaptation of “Guys and Dolls” in the works; North Bergen High School production of "Alien: The Play" makes a splash
The Roundabout Theatre Company’s new Broadway revival of “Kiss Me, Kate” is occasionally too darn hot, but mostly just too darn meh. Some key casting mistakes keep this well-appointed production from soaring where it should, but the choreography is a knockout and the musical itself so structurally sound and well-written that it cannot fail to entertain—uneven as it is, but still satisfying.
Now Off-Broadway, National Yiddish Theatre Folksbeine’s glorious production of “Fiddler on the Roof in Yiddish” breathes fresh life into a treasured property from the golden age of musical comedy, forcing audiences to interact anew with what is now one of the most well-known and performed musicals of all time, and providing, in return, a host of vital performances and resonant insights. It is, in short, a revelation. See it, or regret it.
Lincoln Center Theater presents a strange, funny, and somewhat confounding new comedy by esteemed playwright John Guare that is a bizarre romp through the recesses of memory and the meaning of story. Tautly told and energetically performed, the play remains entertaining, though incomplete—a great whale that Mr. Guare has harpooned for audiences to follow in our own “Nantucket Sleigh Ride”.
James Corden to host the 73rd Tony Awards; "Gary" postpones opening night; "Kiss Me, Kate" extends; Yanni books the Lunt Fontanne Theatre; Anna D. Shapiro to direct "The Devil Wears Prada" musical; "Jekyll & Hyde" musical to receive a film adaption; "Fiddler on the Roof" documentary to premiere this summer; Trump budget threatens to eliminate NEA; Shoshana Bean leads "Waitress" cast; Jeremy Jordan joins April 8th; Brian d'Arcy James to play Officer Krupke in "West Side Story" film adaptation
Mark Evans shines in Rodgers and Hart’s 1938 hit “I Married an Angel”; this dance infused fantasy story involving an aristocrat who literally marries an angel is a peculiar relic of its time, but a treat for collectors of obscure musicals and fans of the Rodgers and Hart oeuvre. Director/choreographer Joshua Bergasse steps into the shoes once worn by George Balanchine to create an entertaining show featuring the talents of ballerina Sara Mearns (his wife), as the Angel. Feather-light as it is, I suspect we won’t see “I Married an Angel” again for some time.
The New York Pops closed out its annual subscription season with “Movie Mixtape: Songs from the Silver Screen”, a crowd-pleasing concert-length celebratory survey of hit songs from the movies featuring guest vocalists Mykal Kilgore, Storm Large, Laura Osnes, and Ryan Silverman.
Hugh Jackman to lead fall 2020 Broadway revival of "The Music Man"; "The Humans" to get film adaptation; "Network" recoups; Broadway-aimed Britney Spears jukebox musical books Chicago; "Avenue Q" postpones closing by one month; April Matthis replaces Uzo Aduba in Roundabout's "Toni Stone"; cast set for D.C. concert production of "The Who’s Tommy"; 2016-2017 "Ethnic Representation on New York City Stages" study results; the latest "R&H Goes Pop!" video; RIP George Morfogen
Tween science-fiction, pop-rock sensation “Be More Chill” makes the leap to Broadway and gets an upgrade in the process with a snazzier production design and revised score and script that give it a clearer narrative and a more even tone. Relentlessly hyperactive, broad, and sophomoric, it still lacks the sophistication, polish, and emotional resonance of its high school musical peers, but it is infectiously fun.
Isabelle Huppert offers a devastating portrait of maternal sublimation and abandonment in Florian Zeller’s disturbing and disorienting dark comedy, “The Mother”. Under the brilliant direction of Trip Cullman, the play offers a highly theatrical, distorted, collage-like, meditative, and surreal look at one woman coping with an empty nest, a loveless marriage, and a purposeless life. My advice: get tickets if you can. And call your mother.
