HARVEY at the Roundabout's Studio 54
(Seen June 20, 2012)
In an innocuous revival of Mary Chase's period comedy, the cast seems to dream-walk through their silly roles, led by tv personality Jim Parsons as Elwood P. Dowd, the character who has an invisible six-foot rabbit -- Harvey -- as his companion.
Parsons is the most low-key, no-energy personality to adorn a Broadway stage this season, and brings little more than innocence to an otherwise thankless role. Carol Kane, Charles Kimbrough, and Larry Bryggman submerge their personalities to fit the caricature roles given them.
This very dated play, under Scott Ellis' direction, should be returned to the archives where it can rest on its past laurels from a previous century.
8/18/12
THE COLUMNIST at the Samuel Friedman Theatre
(Seen April 28, 2012)
David Auburn has written a revelatory drama about the life and secrets of a high profile and highly influential political journalist of the 1960s. Joseph Alsop was a columnist who was both respected and feared, by presidents and politicians.
Auburn takes us behind the scenes, as we see Alsop's interactions with family, other journalists, and his not-so-secret sexual orientation. While the dramatic impact is low-key, it is an informative look at a man, a time, and how historical events played out in his orderly life.
John Lithgow embodies the role completely, with all the complexities and foibles of the character, while Boyd Gaines, Margaret Colin and Grace Gummer lead the supporting cast with an easy reality. Director Daniel Sullivan has ably moved his strong cast on its meaningful journey.
(Seen April 28, 2012)
David Auburn has written a revelatory drama about the life and secrets of a high profile and highly influential political journalist of the 1960s. Joseph Alsop was a columnist who was both respected and feared, by presidents and politicians.
Auburn takes us behind the scenes, as we see Alsop's interactions with family, other journalists, and his not-so-secret sexual orientation. While the dramatic impact is low-key, it is an informative look at a man, a time, and how historical events played out in his orderly life.
John Lithgow embodies the role completely, with all the complexities and foibles of the character, while Boyd Gaines, Margaret Colin and Grace Gummer lead the supporting cast with an easy reality. Director Daniel Sullivan has ably moved his strong cast on its meaningful journey.
END OF THE RAINBOW at the Belasco Theatre
(Seen April 25, 2012)
Peter Quilter brings us into Judy Garland's life in her final year, as everything is a down hill journey -- her career, her loves, her drugs. We see her highs and lows as she can no longer help but to destroy herself.
As embodied by Tracie Bennett, this play with music, makes us feel the pain as we participate in the slow death of a Hollywood legend. This is not great drama. It's kind of a by-the-numbers creation -- but it serves as a wonderful vehicle for Ms. Bennett. She thoroughly inhabits the role, and makes the character physically and emotionally inseparable from herself. Both her acting and singing are inspired in the context of the part.
Michael Cumpsty is particularly endearing as her loving and doting gay pianist, and Tom Pelphrey brings a strange believability to what could be a sleazy character. Despite the shortcomings of the play, director Terry Johnson smoothly moves the action along.
(Seen April 25, 2012)
Peter Quilter brings us into Judy Garland's life in her final year, as everything is a down hill journey -- her career, her loves, her drugs. We see her highs and lows as she can no longer help but to destroy herself.
As embodied by Tracie Bennett, this play with music, makes us feel the pain as we participate in the slow death of a Hollywood legend. This is not great drama. It's kind of a by-the-numbers creation -- but it serves as a wonderful vehicle for Ms. Bennett. She thoroughly inhabits the role, and makes the character physically and emotionally inseparable from herself. Both her acting and singing are inspired in the context of the part.
Michael Cumpsty is particularly endearing as her loving and doting gay pianist, and Tom Pelphrey brings a strange believability to what could be a sleazy character. Despite the shortcomings of the play, director Terry Johnson smoothly moves the action along.
DON'T DRESS FOR DINNER at the Roundabout's American Airlines Theatre
(Seen May 3, 2912)
All my actor and director friends seems to agree with me, that when you're playing farce, you play for the reality of it, not the farce.
In Marc Camoletti's new play, the luckless performers seem to be trying to outdo one another in their outward foolishness, in line readings, facial expressions, and other physical gestures and posturing.
It is an embarrassing display of mis-used talent, who I shall leave nameless, but who are strangely unrestrained by the very talented director, John Tillinger.
(Seen May 3, 2912)
All my actor and director friends seems to agree with me, that when you're playing farce, you play for the reality of it, not the farce.
In Marc Camoletti's new play, the luckless performers seem to be trying to outdo one another in their outward foolishness, in line readings, facial expressions, and other physical gestures and posturing.
It is an embarrassing display of mis-used talent, who I shall leave nameless, but who are strangely unrestrained by the very talented director, John Tillinger.
ONE MAN, TWO GUVNORS at the Music Box Theatre
(Seen April 20, 2012)
If slapstick and low humor are your wont, go see this show! In fact, even if farce and physical comedy are not your thing --- I am among those --- you'll probably enjoy yourself despite that.
This is mostly due to James Corden's performance as a hapless fellow who manages to get two jobs at the same time, working for different bosses. Richard Bean has written a farce loosely based on Goldoni's 1746 classic, THE SERVANT OF TWO MASTERS.
With a fine cast to assist Corden, director Nicholas Hytner and "physical comedy director" Cal McCrystal, draw the large ensemble through a series of physical and comedic foibles. Corden often breaks the 'fourth wall' to involve audience members in a number of scenes. And it actually works out well.
It is funny, sometimes crude, often witty, and almost always entertaining.
(Seen April 20, 2012)
If slapstick and low humor are your wont, go see this show! In fact, even if farce and physical comedy are not your thing --- I am among those --- you'll probably enjoy yourself despite that.
This is mostly due to James Corden's performance as a hapless fellow who manages to get two jobs at the same time, working for different bosses. Richard Bean has written a farce loosely based on Goldoni's 1746 classic, THE SERVANT OF TWO MASTERS.
With a fine cast to assist Corden, director Nicholas Hytner and "physical comedy director" Cal McCrystal, draw the large ensemble through a series of physical and comedic foibles. Corden often breaks the 'fourth wall' to involve audience members in a number of scenes. And it actually works out well.
It is funny, sometimes crude, often witty, and almost always entertaining.
THE BEST MAN at the Schoenfeld Theatre
(Seen April 12, 2012)
This glittery revival of Gore Vidal's 1960 look at the political shenanigans that go on behind the choosing of a presidential candidate is both timely and highly entertaining.
Producer Jeffrey Richards and director Michael Wilson have stacked the deck with a combination of theatre luminaries and theatre stalwarts. And although sometimes there seems an over-exuberance on the part of some players, it works very well on the whole. With its parallels of how our political system works, there are solid moments of contemporary recognition.
James Earl Jones, Angela Lansbury, and Candice Bergen join John Larroquette, Michael McKean, and Eric McCormack in setting the pace for this slick drama, hitting on all the humor and political maneuvering that Vidal has built into what might have once seemed like a period drama.
(Seen April 12, 2012)
This glittery revival of Gore Vidal's 1960 look at the political shenanigans that go on behind the choosing of a presidential candidate is both timely and highly entertaining.
Producer Jeffrey Richards and director Michael Wilson have stacked the deck with a combination of theatre luminaries and theatre stalwarts. And although sometimes there seems an over-exuberance on the part of some players, it works very well on the whole. With its parallels of how our political system works, there are solid moments of contemporary recognition.
James Earl Jones, Angela Lansbury, and Candice Bergen join John Larroquette, Michael McKean, and Eric McCormack in setting the pace for this slick drama, hitting on all the humor and political maneuvering that Vidal has built into what might have once seemed like a period drama.
8/17/12
EVITA at the Marquis Theatre
(Seen April 11, 2012)
"Don't Cry For Me, Argentina" is still an infectious song, as simple and as repetitive as it may be. But that's hardly a reason for the current revival of EVITA. Its prior recent success in London propelled it to Broadway, with a little-known Elena Roger in the title role.
Vocally, dramatically, and and theatrically, she falls short of being able to carry this show, as we've come to expect from our previous Evita portrayers.
The physical production appears stinted, if utilitarian. And Michael Grandage's direction and Rob Ashford's choreography seem perfunctory.
And while Ricky Martin's "Che" seems totally uninvolved, strangely he has a likeable stage presence, even if it's somewhat ill-suited for that character.
(Seen April 11, 2012)
"Don't Cry For Me, Argentina" is still an infectious song, as simple and as repetitive as it may be. But that's hardly a reason for the current revival of EVITA. Its prior recent success in London propelled it to Broadway, with a little-known Elena Roger in the title role.
Vocally, dramatically, and and theatrically, she falls short of being able to carry this show, as we've come to expect from our previous Evita portrayers.
The physical production appears stinted, if utilitarian. And Michael Grandage's direction and Rob Ashford's choreography seem perfunctory.
And while Ricky Martin's "Che" seems totally uninvolved, strangely he has a likeable stage presence, even if it's somewhat ill-suited for that character.
JESUS CHRIST SUPERSTAR at the Neil Simon Theatre
(Seen March 28, 2012)
This show is definitely in a rock star environment, full of electronic visuals and super-amplified sounds, as Jesus' followers and antagonists fight for his soul and his body.
But Paul Nolan's placid Jesus is far out-super-starred by Josh Young's impassioned and irrepressible portrayal of Judas.
And Chilina Kennedy's Mary Magdalene engages Young's Judas viscerally , in a battle for the love of Jesus, with strong performances by both. While Bruce Dow's King Herod and Tom Hewitt's Pontius Pilate also shine brightly in the firmament.
The show is full of gloss and glitz, but this is mostly exterior. It is missing some inner life to hold things together, despite director Des McAnuff's slick packaging.
(Seen March 28, 2012)
This show is definitely in a rock star environment, full of electronic visuals and super-amplified sounds, as Jesus' followers and antagonists fight for his soul and his body.
But Paul Nolan's placid Jesus is far out-super-starred by Josh Young's impassioned and irrepressible portrayal of Judas.
And Chilina Kennedy's Mary Magdalene engages Young's Judas viscerally , in a battle for the love of Jesus, with strong performances by both. While Bruce Dow's King Herod and Tom Hewitt's Pontius Pilate also shine brightly in the firmament.
The show is full of gloss and glitz, but this is mostly exterior. It is missing some inner life to hold things together, despite director Des McAnuff's slick packaging.
DEATH OF A SALESMAN at the Ethel Barrymore Theatre
(Seen March 22, 2012)
Few people will argue against calling this Arthur Miller play an American masterpiece. In the 60-plus years since audiences first encountered Miller's story of a family's failed dreams, crushed by human frailty and circumstance, there have been many re-interpretations of this poignant drama. (For me, none have reached the depth of Lee J. Cobb and Mildred Dunnock.)
The play out-matches so many superlative Greek and Russian tragedies in both its simplicity and intensity. So that by imbuing the characters of Willy and Biff Loman with such devastating and anguished inner life, both Philip Seymour Hoffman and Andrew Garfield take away much of the reality and the pathos that already exists in the writing. They display their pain and their disappointment as though it was a badge of honor. Their intensity never flags, and we lose sight of their humanity.
And director Mike Nichols has allowed them to revel in this depressive state, so that they become symbols rather than real people caught up in a tragic situation.
(Seen March 22, 2012)
Few people will argue against calling this Arthur Miller play an American masterpiece. In the 60-plus years since audiences first encountered Miller's story of a family's failed dreams, crushed by human frailty and circumstance, there have been many re-interpretations of this poignant drama. (For me, none have reached the depth of Lee J. Cobb and Mildred Dunnock.)
The play out-matches so many superlative Greek and Russian tragedies in both its simplicity and intensity. So that by imbuing the characters of Willy and Biff Loman with such devastating and anguished inner life, both Philip Seymour Hoffman and Andrew Garfield take away much of the reality and the pathos that already exists in the writing. They display their pain and their disappointment as though it was a badge of honor. Their intensity never flags, and we lose sight of their humanity.
And director Mike Nichols has allowed them to revel in this depressive state, so that they become symbols rather than real people caught up in a tragic situation.
ONCE at the Bernard Jacobs Theatre
(Seen March 21, 2012)
ONCE is a quiet, low-key musical which should capture the hearts and fancy of theatre-goers of all generations. With its variety of musical styles, it's a simple non-love story of two disparate musicians who meet on a Dublin street, and bond through their music. It is based on the film of the same title, which is based on the true story of the actual characters who played themselves in the movie.
Starring Steve Kazee and Cristin Milioti, there are a dozen other versatile performers who act/sing/dance their respective roles. Director John Tiffany has assembled a true ensemble of players, and has extracted realistic performances from all of them.
The action mainly takes place in an Irish pub, and pre-show, intermission, and post-show, audiences are invited on stage to partake of jam sessions, and to buy drinks at the bar. And all this really works. This is a show that should reap a variety of Tony awards. Don't miss it!
(Seen March 21, 2012)
ONCE is a quiet, low-key musical which should capture the hearts and fancy of theatre-goers of all generations. With its variety of musical styles, it's a simple non-love story of two disparate musicians who meet on a Dublin street, and bond through their music. It is based on the film of the same title, which is based on the true story of the actual characters who played themselves in the movie.
Starring Steve Kazee and Cristin Milioti, there are a dozen other versatile performers who act/sing/dance their respective roles. Director John Tiffany has assembled a true ensemble of players, and has extracted realistic performances from all of them.
The action mainly takes place in an Irish pub, and pre-show, intermission, and post-show, audiences are invited on stage to partake of jam sessions, and to buy drinks at the bar. And all this really works. This is a show that should reap a variety of Tony awards. Don't miss it!
CARRIE at the Lucille Lortel Theatre
(Seen March 10, 2012)
Alienation and bullying in high school is certainly a hot topic in today's headlines, so why not take another look at the classic Broadway musical flop of 1988, based on Stephen King's best-selling novel?
Well, a revised book and a smaller scale presentation only make its shortcomings more apparent --- this campy, preposterous show still does not hold up in its intimate new environment.
Certainly it's not the fault of the singers: Marin Mazzie's and Molly Rawson's impressive voices ring clear and loud, but it's hard to really care about their plight or plot. And under Stafford Arima's feeble direction, the zombie-like cast of teenagers and teachers fail to bring the tedious proceedings to any satisfactory excitement or pleasure.
(Seen March 10, 2012)
Alienation and bullying in high school is certainly a hot topic in today's headlines, so why not take another look at the classic Broadway musical flop of 1988, based on Stephen King's best-selling novel?
Well, a revised book and a smaller scale presentation only make its shortcomings more apparent --- this campy, preposterous show still does not hold up in its intimate new environment.
Certainly it's not the fault of the singers: Marin Mazzie's and Molly Rawson's impressive voices ring clear and loud, but it's hard to really care about their plight or plot. And under Stafford Arima's feeble direction, the zombie-like cast of teenagers and teachers fail to bring the tedious proceedings to any satisfactory excitement or pleasure.
GODSPELL at Circle In The Square
(Seen February 5, 2012)
Forty years after it first opened off-Broadway, GODSPELL is revived on Broadway with some awkward touches of contemporary times insinuated into the story line. Unfortunately, that is not the only thing that doesn't work.
The carnival-type setting with acrobatics, and solo singing and dancing 'turns', somehow works against this story of Jesus and his followers. And the attempts at clever dialogue with contemporary references, falls completely flat.
Another added aspect has each performer trying to outdo one another, and you get the feeling that a bunch of 'wanna-bes' are showing off, demonstrating how talented they think they are! There is a total lack of flow and cohesion, and we have spurts of familiar songs buried in a mish-mash of hyper-activity.
(Seen February 5, 2012)
Forty years after it first opened off-Broadway, GODSPELL is revived on Broadway with some awkward touches of contemporary times insinuated into the story line. Unfortunately, that is not the only thing that doesn't work.
The carnival-type setting with acrobatics, and solo singing and dancing 'turns', somehow works against this story of Jesus and his followers. And the attempts at clever dialogue with contemporary references, falls completely flat.
Another added aspect has each performer trying to outdo one another, and you get the feeling that a bunch of 'wanna-bes' are showing off, demonstrating how talented they think they are! There is a total lack of flow and cohesion, and we have spurts of familiar songs buried in a mish-mash of hyper-activity.
PORGY AND BESS at the Richard Rodgers Theatre
(Seen January 25, 2012)
With a revised book by Suzan-Lori Parks and a new insight by director Diane Paulus, there is a feminist slant that focuses on Bess, as befits its star, Audra McDonald. And this seems to be a darker, more brutal view of life in the Catfish Row we might have previously known.
Even the physical set-up of Catfish Row seems industrial looking, and most of the 'livin' here is not easy. The good guys and the bad guys are more clearly delineated, and even the music sounds harsher.
But there is no getting away from the fact that the Gershwin score is the most important aspect of this show, and that music shines through all the tampering and the slanting.
Audra McDonald is an impressively strong-but-vulnerable Bess. Norm Lewis is the dreamy-eyed cripple who falls in love with a woman not meant for him; and David Alan Grier is a personable, evil, manipulative Sportin' Life. Philip Boykin is a physically frightening Crown, with an equally imposing voice. The large ensemble is full of strong, impressive soloists, who also come together as a melodious chorus.
If you've never seen a production of PORGY & BESS, try to see this one. But this is hardly a definitive version.
(Seen January 25, 2012)
With a revised book by Suzan-Lori Parks and a new insight by director Diane Paulus, there is a feminist slant that focuses on Bess, as befits its star, Audra McDonald. And this seems to be a darker, more brutal view of life in the Catfish Row we might have previously known.
Even the physical set-up of Catfish Row seems industrial looking, and most of the 'livin' here is not easy. The good guys and the bad guys are more clearly delineated, and even the music sounds harsher.
But there is no getting away from the fact that the Gershwin score is the most important aspect of this show, and that music shines through all the tampering and the slanting.
Audra McDonald is an impressively strong-but-vulnerable Bess. Norm Lewis is the dreamy-eyed cripple who falls in love with a woman not meant for him; and David Alan Grier is a personable, evil, manipulative Sportin' Life. Philip Boykin is a physically frightening Crown, with an equally imposing voice. The large ensemble is full of strong, impressive soloists, who also come together as a melodious chorus.
If you've never seen a production of PORGY & BESS, try to see this one. But this is hardly a definitive version.
BONNIE & CLYDE at the Schoenfeld Theatre
(Seen December, 2011)
Frank Wildhorn's latest musical is a look at the real life desperados who captured America's lurid interests during our great depression years. This show is NOT based on the classic movie, and all of the blood and guts and lovemaking add up to an uninteresting look into the lives and loves of two troubled and unhappy young Americans.
Laura Osnes and Jeremy Jordan, in the title roles, do their best, but cannot bring the desired passion to the mostly lackluster dialog, simplistic lyrics, and wavering story line.
Jeff Calhoun's direction and choreography keep things moving apace, but it seems as if there is no place to go that will make the audience care about their misadventures. It is an unfulfilled tale about unfulfilled dreams.
(Seen December, 2011)
Frank Wildhorn's latest musical is a look at the real life desperados who captured America's lurid interests during our great depression years. This show is NOT based on the classic movie, and all of the blood and guts and lovemaking add up to an uninteresting look into the lives and loves of two troubled and unhappy young Americans.
Laura Osnes and Jeremy Jordan, in the title roles, do their best, but cannot bring the desired passion to the mostly lackluster dialog, simplistic lyrics, and wavering story line.
Jeff Calhoun's direction and choreography keep things moving apace, but it seems as if there is no place to go that will make the audience care about their misadventures. It is an unfulfilled tale about unfulfilled dreams.
BLOOD AND GIFTS at the Mitzi Newhouse Theratre
(Seen December 2011)
J. T. Roger's new play about the CIA and America's covert operations in Pakistan and Afghanistan in the 1980s is an intense spy drama involving warlords, corrupt military regimes, Russia, Britain -- all the makings of an exciting feature film thriller.
Director Bartlett Sher has seamlessly fit all the various theatrical settings into a multi-functional, confined playing area. Small set-pieces and props, and lighting changes, represent myriad locations for the intriguing action.
It is the excellent writing and low-key acting that help the realization of this tour-de-force drama. Jeremy Davidson, as the CIA operative, leads the versatile and most accomplished cast through a variety of personal and political turns that add up to an impressive theatrical experience.
(Seen December 2011)
J. T. Roger's new play about the CIA and America's covert operations in Pakistan and Afghanistan in the 1980s is an intense spy drama involving warlords, corrupt military regimes, Russia, Britain -- all the makings of an exciting feature film thriller.
Director Bartlett Sher has seamlessly fit all the various theatrical settings into a multi-functional, confined playing area. Small set-pieces and props, and lighting changes, represent myriad locations for the intriguing action.
It is the excellent writing and low-key acting that help the realization of this tour-de-force drama. Jeremy Davidson, as the CIA operative, leads the versatile and most accomplished cast through a variety of personal and political turns that add up to an impressive theatrical experience.
CLOSE UP SPACE at MTC's City Center Stage 1
(Seen December 2011)
Director Leigh Silverman who this season did such excellent work with CH'ING-LISH, is unable to do anything to save this muddled, confusing, and silly new play by Molly Smith Metzler. And the presence of David Hyde Pierce as an unhappy, obsessive book editor, with Rosie Perez as an unlikely demanding, prima donna author, doesn't add any substance or reality to the proceedings.
"Close-up space" is a proofreader's and editor's symbol, and the title turns out to be prophetic in a way, presaging what might have happened if a dramaturg had edited and pruned and compressed this intermission-less and meandering play down into a short skit.
The entire cast plays everything so broadly, that they merely add to the ridiculousness and the unbelievability of the situations and the characters. It seems like unintentional 'theatre of the absurd'.
(Seen December 2011)
Director Leigh Silverman who this season did such excellent work with CH'ING-LISH, is unable to do anything to save this muddled, confusing, and silly new play by Molly Smith Metzler. And the presence of David Hyde Pierce as an unhappy, obsessive book editor, with Rosie Perez as an unlikely demanding, prima donna author, doesn't add any substance or reality to the proceedings.
"Close-up space" is a proofreader's and editor's symbol, and the title turns out to be prophetic in a way, presaging what might have happened if a dramaturg had edited and pruned and compressed this intermission-less and meandering play down into a short skit.
The entire cast plays everything so broadly, that they merely add to the ridiculousness and the unbelievability of the situations and the characters. It seems like unintentional 'theatre of the absurd'.
CH'ING-LISH at the Longacre Theatre
(Seen November 2011)
David Henry Hwang's new comedy is rooted in such realistic and truly funny wordplay that it is certainly the most enjoyable play of this season. Although it has a more-or-less one-joke premise --- the inability of a meaningful translation, specifically, Chinese/English/Chinese, it sets up both a cultural and business back-story, and then carries the fun and personal mishaps to a logical and entertaining conclusion.
It has a small ensemble cast, led by Jennifer Lim, Gary Wilmes, and Stephen Pucci, who are top-notch comedic performers, seamlessly bringing out both the humor and the reality of the many personal entanglements.
Director Leigh Silverman doesn't miss a beat, and designer David Korins' simple multi-functional unit set serves the play well. Hwang seems to be having fun with his audience, and the audience expresses its reciprocal feelings.
(Years ago, a rabbi-friend of mine said that all translation is interpretation. Hwang's CH'ING-LISH appears to bear that out.)
(Seen November 2011)
David Henry Hwang's new comedy is rooted in such realistic and truly funny wordplay that it is certainly the most enjoyable play of this season. Although it has a more-or-less one-joke premise --- the inability of a meaningful translation, specifically, Chinese/English/Chinese, it sets up both a cultural and business back-story, and then carries the fun and personal mishaps to a logical and entertaining conclusion.
It has a small ensemble cast, led by Jennifer Lim, Gary Wilmes, and Stephen Pucci, who are top-notch comedic performers, seamlessly bringing out both the humor and the reality of the many personal entanglements.
Director Leigh Silverman doesn't miss a beat, and designer David Korins' simple multi-functional unit set serves the play well. Hwang seems to be having fun with his audience, and the audience expresses its reciprocal feelings.
(Years ago, a rabbi-friend of mine said that all translation is interpretation. Hwang's CH'ING-LISH appears to bear that out.)
THE AGONY AND THE ECSTASY OF STEVE JOBS at the Public Theatre
(Seen October 2011)
Amidst all the paeans for the late Steve Jobs, Michael Daisey delves into the sordid business and labor practices of Apple Computers, in its triumphal rise as the leader of the technology apparatus industry.
As a piece of political/social theatre it is an informative and revelatory presentation, based on Daisey's probing investigations into labor conditions at the Chinese factory which creates most of Apple's ground-breaking devices. It is story-telling in the old-fashioned way, full of personal anecdotes.
Daisey paints vivid and lurid pictures of the oppressed workers, contrasting his casual, sweaty, and gritty, but intense, style. He works from sheets of notes in his two-hour diatribe. It is a call for action, but theatre qaudiences, no matter how sympathetic to the cause, are unlikely to give up their iphones and ipads.
(Seen October 2011)
Amidst all the paeans for the late Steve Jobs, Michael Daisey delves into the sordid business and labor practices of Apple Computers, in its triumphal rise as the leader of the technology apparatus industry.
As a piece of political/social theatre it is an informative and revelatory presentation, based on Daisey's probing investigations into labor conditions at the Chinese factory which creates most of Apple's ground-breaking devices. It is story-telling in the old-fashioned way, full of personal anecdotes.
Daisey paints vivid and lurid pictures of the oppressed workers, contrasting his casual, sweaty, and gritty, but intense, style. He works from sheets of notes in his two-hour diatribe. It is a call for action, but theatre qaudiences, no matter how sympathetic to the cause, are unlikely to give up their iphones and ipads.
FOLLIES at the Marquis Theatre
(Seen Sept. 2011)
This masterful musical revival comes to Broadway virtually intact from its Kennedy Center incarnation. With a background story of former Follies showgirls coming to a reunion before their fabled theatre is to be razed, we look into the failed marriages of two of its stars.
This production has a plethora of famous performers, including Bernadette Peters, Jan Maxwell,, Elaine Paige, and Ron Raines, among others -- but this is a break-out performance for the otherwise stalwart supporting player, Danny Burstein, who bursts into the spotlight.
Director Eric Schaeffer has brought a somewhat darker approach to Sondheim and Goldman's already moody look at their various lives, but this doesn't detract from nor lessen any of its vitality. It's a musical masterpiece that still excels in every aspect.
(Seen Sept. 2011)
This masterful musical revival comes to Broadway virtually intact from its Kennedy Center incarnation. With a background story of former Follies showgirls coming to a reunion before their fabled theatre is to be razed, we look into the failed marriages of two of its stars.
This production has a plethora of famous performers, including Bernadette Peters, Jan Maxwell,, Elaine Paige, and Ron Raines, among others -- but this is a break-out performance for the otherwise stalwart supporting player, Danny Burstein, who bursts into the spotlight.
Director Eric Schaeffer has brought a somewhat darker approach to Sondheim and Goldman's already moody look at their various lives, but this doesn't detract from nor lessen any of its vitality. It's a musical masterpiece that still excels in every aspect.
PLAY IT COOL at the Acorn Theatre
(Seen Sept./2011)
This little musical with a hidden agenda seems to strike out in all its attempts, except as a vehicle for the talents of singer/actress Sally Mayes.
Set in the seamy side of 1950s Hollywood, it's about a surreptitious gay jazz club, a closeted Hollywood producer, a young Southern boy just off the bus who's come to make his mark as a singer, a good-hearted but dirty cop with a secret life -- all the expected elements that frequent 50s film noir detective film stories.
But somehow, nothing ever comes together, and it all adds up to a campy version of a campy show.
(Seen Sept./2011)
This little musical with a hidden agenda seems to strike out in all its attempts, except as a vehicle for the talents of singer/actress Sally Mayes.
Set in the seamy side of 1950s Hollywood, it's about a surreptitious gay jazz club, a closeted Hollywood producer, a young Southern boy just off the bus who's come to make his mark as a singer, a good-hearted but dirty cop with a secret life -- all the expected elements that frequent 50s film noir detective film stories.
But somehow, nothing ever comes together, and it all adds up to a campy version of a campy show.
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