BROADWAY REVIEWS

BROADWAY REVIEW: Honeymoon in Vegas

Honeymoon In Vegas

January 15, 2015: Wake up and smell the mai tais, New York. Las Vegas has come calling on you. And it’s on such good behavior, you’d be a churl not to embrace it as if it were a long-lost sibling. As embodied by the bright and bouncy new musical Honeymoon in Vegas, which opened on Thursday night at the Nederlander Theater, the world capital of gambling and neon is everything you want it to be. That means a little hip, a little square, a little dangerous, a little kitschy and a whole lotta delicioussh fun. (Oh dear, am I slurring? Sorry.) But here’s the bonus, in which East (Coast) meets West: This production is also a real-live, old-fashioned, deeply satisfying Broadway musical in a way few new shows are anymore. Adapted by Andrew Bergman from his 1992 movie, with a swinging score by Jason Robert Brown and a smooth-as-Ultrasuede star turn by Tony Danza, this show offers the perfect sunny holiday for frozen Eastern city dwellers. Honeymoon in Vegas, which also felicitously stars Rob McClure and Brynn O’Malley as wide-eyed Brooklynites in Sin City and is directed with exactly the right synthetic-satin touch by Gary Griffin, was first staged more than a year ago at the Paper Mill Playhouse in Millburn, N.J. It generated great buzz and reviews to match.

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BROADWAY REVIEW: Constellations

Constellations

January 13, 2015: Who knew that higher physics could be so sexy, so accessible — and so emotionally devastating? Constellations, Nick Payne’s gorgeous two-character drama, starring a perfectly matched Jake Gyllenhaal and Ruth Wilson, may be the most sophisticated date play Broadway has seen. This 70-minute fugue-like production, which opened on Tuesday night at the Samuel J. Friedman Theater, takes that most elemental of dramatic setups — boy meets girl — and then spins it into a seeming infinitude of might-have-been alternatives. This is achieved through the application of the principles of string theory, relativity and quantum mechanics, although don’t ask me to explain precisely how. In college, I barely squeaked through Physics for Poets. But I had no difficulty following the convolutions of the relationship between Roland (Mr. Gyllenhaal), a beekeeper, and Marianne (Ms. Wilson), a Cambridge University academic specializing in “theoretical early universe cosmology.” Did I just hear you gulp? Or perhaps sigh at the prospect of another sentimental portrait of a British brainiac, what with those Oscar-bait movies starring Eddie Redmayne and Benedict Cumberbatch as geniuses under siege? You are probably more apt to discover your own self in the characters of Constellations, which was first staged in London in 2012 and arrives here in a Manhattan Theater Club production. I would even venture that it’s impossible not to identify with Roland and Marianne if you’ve ever been in love. No, make that if you’ve ever relived your life in your mind, considering the factors that made things happen as they did.

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BROADWAY REVIEW: On The Town

On The Town

October 16, 2014: And now, a show about sex that you can take the whole family to: the kids, the grandparents, even your sister the nun. That idea may sound kind of creepy, or (worse) dreary. But I assure you that the jubilant revival of On the Town, which opened Thursday night at the Lyric Theater, is anything but. On the contrary, this merry mating dance of a musical feels as fresh as first sunlight as it considers the urgent quest of three sailors to find girls and get, uh, lucky before their 24-hour shore leave is over. If there’s a leer hovering over On the Town, a seemingly limp 1944 artifact coaxed into pulsing new life by the director John Rando and the choreographer Joshua Bergasse, it’s the leer of an angel. The best-known song from this show — which has music by Leonard Bernstein, with book and lyrics by Betty Comden and Adolph Green — describes its setting as “a helluva town.” But the town in question — “New York, New York,” if you didn’t know — feels closer to heaven here.

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BROADWAY REVIEW: It’s Only A Play

It's Only A Play

October 9, 2014: Big names drop like hailstones in Terrence McNally’s It’s Only a Play, the kind that look like diamonds from a distance and then melt away before you know it. As a star-struck young man observes at the beginning of this deliriously dishy revival, which opened Thursday night at the Gerald Schoenfeld Theater (and is about a tense opening night of a play at the Ethel Barrymore Theater), “This place is crawling with famous people.” He’s referring to a noisy party that’s happening downstairs. But he might as well be talking about the comedy in which he appears, which is directed with gusto by Jack O’Brien. One of the reasons that It’s Only a Play is already a gold-mining hit is its unblushing willingness to play the fame card as an ace that can’t be beaten. As any of the pseudo-cynical, theater-obsessed characters in this work from the 1980s — which has been strategically rewritten by Mr. McNally — might point out, “That’s Broadway today, baby.” The list of celebrities starts with the show’s cast members, whose biographies glitter with Tonys, Emmys, a box-office-bonanza film franchise and an Oscar. They include Broadway’s most popular bromancers, Nathan Lane and Matthew Broderick, along with Stockard Channing, Megan Mullally (of Will and Grace), Rupert Grint (of the Harry Potter movies) and F. Murray Abraham. Then there are the many, many other well-known names that pepper the dialogue to keep it from tasting bland.

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BROADWAY REVIEW: The Curious Incident of the Dog in the Night-Time

The Curious Incident of the Dog in the Night-Time

October 5, 2014: Ever had one of those days in the city when you feel like you forgot to put your skin on? Sure you have. It happens when you haven’t slept, or you drank too much the night before, or you’ve been brooding over bad news. All your senses, it seems, have been heightened to a painful acuity; your nerve endings are standing on guard. And every one of the manifold sights and sounds of urban life registers as a personal assault. You’re a walking target in a war zone, and that subway ride that awaits you looms like a descent into hell. Such a state of being is conjured with dazzling effectiveness in The Curious Incident of the Dog in the Night-Time, which opened on Sunday night at the Ethel Barrymore Theater. Adapted by Simon Stephens from Mark Haddon’s best-selling 2003 novel about an autistic boy’s coming-of-age, this is one of the most fully immersive works ever to wallop Broadway. So be prepared to have all your emotional and sensory buttons pushed, including a few you may have not known existed. As directed by Marianne Elliott (a Tony winner for the genius tear-jerker War Horse), with a production that retunes the way you see and hear, Curious Incident can be shamelessly manipulative.

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BROADWAY REVIEW: Cabaret

cabaret

April 24, 2014: Hot diggity dachshund, it’s old home week on the campus at Weimar Berlin, otherwise known as the Kit Kat Klub. And if we take off our glasses and squint, we can pretend that life is just as divinely, dangerously decadent as it was when we were all 16 years younger. Why, here’s that adorably creepy M.C., a little softer around the jaw, maybe (aren’t we all?), but still such a cutup. Look at him pretending to have sex with the school slut. (Or one of them; there were so many.) And isn’t that Sally Bowles over there in the pink boa? Looking good, Sal; love the platinum bob. But why so uptight? Don’t forget what you always said: “Life is ... .” Uh, what was it you said again? A little more than 16 years after it first opened, and only a decade after it closed, it feels as if the popular Roundabout Theater Company production of Cabaret never left Studio 54, where it reopened on Thursday night.

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BROADWAY REVIEW: Hedwig & the Angry Inch

hedwigdidhe

April 22, 2014: Do not be alarmed by recent reports that Neil Patrick Harris, an irresistibly wholesome television presence, has fallen deeply and helplessly into the gap that separates men from women, East from West, and celebrity from notoriety. There’s no need to fear for his safety, much less his identity. Quite the contrary. Playing an “internationally ignored song stylist” of undefinable gender in Hedwig and the Angry Inch, Mr. Harris is in full command of who he is and, most excitingly, what he has become with this performance. That’s a bona fide Broadway star, the kind who can rule an audience with the blink of a sequined eyelid.

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BROADWAY REVIEW: If/Then

IfThen._89x118

March 30, 2014: New York City has never looked cleaner than it does in If/Then, the gleaming drawing board of a musical that opened on Sunday night at the Richard Rodgers Theater, starring the shiny-voiced Idina Menzel. Actually, to find any urban environment that is this spick and span, you’d need to look back to the 1970s, when Mary Tyler Moore conquered Minneapolis on television. The nearest contemporary equivalents are those commercials in which peppy young things go dancing in the streets to trumpet the virtues of cars and colas. But even they — and If/Then does bear a passing resemblance to such ads — lack the antiseptic sheen of this production, written by Tom Kitt and Brian Yorkey, with direction by Michael Greif, the team that gave us the four-handkerchief triumph Next to Normal several years ago. Every surface here appears to have been so thoroughly polished that you could not just eat off the sidewalks but see your own reflection in them, if you so chose.

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BROADWAY REVIEW: Les Miserables

LESMIS1

March 23, 2014: While I was watching the new revival of Les Misérables, it occurred to me that this beloved stage adaptation of Victor Hugo’s novel may have helped pave the way for the pop singing contests that have proliferated across the globe in this century. Much like those televised competitions — American Idol and The Voice being the national brand leaders — Les Misérables presents audiences with a stage full of singers who, one by one, have a chance to step into the spotlight (in this case a very smoke-suffused one) and astonish us with the mighty heft and range of their voices.

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BROADWAY REVIEW: Aladdin

alddindidhelikeit

March 20, 2014: If a genie had sprung from my teakettle last week and offered to grant me three wishes, I might impulsively have asked to be spared any more children’s musicals. Since a certain blockbuster feline arrived well over a decade ago, Broadway has been lapped by wave after wave of big, often gloppy songfests adapted from animated movies, mostly from the mother ship, Disney. So the prospect of Aladdin, promising another weary night in the presence of a spunky youngster and wisecracking animals, didn’t exactly set my heart racing. But this latest musical adapted from one of Disney’s popular movies, which opened on Thursday night at the New Amsterdam Theater, defied my dour expectations. As directed and choreographed (and choreographed, and choreographed) by Casey Nicholaw, and adapted by the book writer Chad Beguelin, Aladdin has an infectious and only mildly syrupy spirit. Not to mention enough baubles, bangles and beading to keep a whole season of RuPaul’s Drag Race contestants in runway attire.

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