BROADWAY REVIEWS

BROADWAY REVIEW: A Bronx Tale: The Musical

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December 1, 2016: Sometimes plain old pasta with red sauce is just what the doctor ordered. “A Bronx Tale,” which opened at the Longacre Theater on Broadway on Thursday, might be called the musical-theater equivalent of that classic comfort food. It doesn’t break ground or dazzle with an unusual recipe — like, say, mixing rap and American history — but it delivers reliable pleasures with polished professionalism and infectious energy. Chazz Palminteri wrote the book, which was adapted from his solo play. More may know the material from the movie version, starring Mr. Palminteri and Robert De Niro, and directed by Mr. De Niro, who shares that chore here with the veteran Jerry Zaks. All told, Mr. Palminteri, who revived his original 1989 solo show on Broadway in 2007, has made a profitable career, and provided much entertainment to audiences, repackaging (albeit loosely) his upbringing in an Italian-American enclave in the Bronx.

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BROADWAY REVIEW: Natasha, Pierre & the Great Comet of 1812

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November 14, 2016: The Imperial Theater, where the rapturous musical “Natasha, Pierre and the Great Comet of 1812” blazed opened on Monday night, has never looked more imperial — or felt more intimate. Who would have guessed that Dave Malloy’s gorgeous pop opera, adapted from a slice of Tolstoy’s “War and Peace,” would land on Broadway with all its signal virtues intact, and in some ways heightened?

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BROADWAY REVIEW: Les Liaisons Dangereuses

Les Liaisons Dangereuses

October 30, 2016: In the high-stakes sport of extreme stage acting, Janet McTeer and Liev Schreiber are champion cliff divers. Give them an emotional precipice to jump from, and they’ll soar through the air and stick the landing. Think of Ms. McTeer’s dawning, devastating disillusionment as the pet wife in “A Doll’s House,” or Mr. Schreiber having the mother of all meltdowns in “Talk Radio.” Or Ms. McTeer competing with a rainstorm and winning as the title character of “Mary Stuart.” And Mr. Schreiber casting a slime of moral pollution over everything that moves as Iago in “Othello.”

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BROADWAY REVIEW: Falsettos

Falsettos

October 27, 2016: There’s hardly a moment in the exhilarating, devastating revival of the musical “Falsettos” that doesn’t approach, or even achieve, perfection. This singular show, about an unorthodox family grappling with the complexities of, well, just being a family — unorthodox or otherwise — has been restored to life, some 25 years after it was first produced, with such vitality that it feels as fresh and startling as it did back in 1992.

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BROADWAY REVIEW: The Front Page

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October 21, 2016: “Who the hell reads the second paragraph?” snarls Walter Burns, the merciless newspaper editor in “The Front Page,” examining the copy of his star reporter. And since Mr. Burns is portrayed quite spectacularly by Nathan Lane as a man whose advice you ignore at your peril, I shall state right away — with the rattling fanfare of a hundred manual typewriters — that the revival of Ben Hecht and Charles MacArthur’s 1928 classic, which opened on Thursday night at the Broadhurst Theater, is … Dang it! (Imagine I just wrote something saltier.) That’s way too much prose for any paragraph, never mind a lead. No doubt Walter would inform me that you, my impatient audience, have already stopped reading by now. But though “The Front Page” is all about the adrenaline rush that turns journalists into deadline junkies, it’s hard to work up the proper urgency about Jack O’Brien’s production.

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BROADWAY REVIEW: The Cherry Orchard

The Cherry Orchard

October 16, 2016: Toward the welcome end of the Roundabout Theater Company’s terminally confused production of Chekhov’s “The Cherry Orchard,” a character who has just exhausted himself by dancing like James Brown on steroids laments, “Oh, if only we could move faster through this next part.”

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BROADWAY REVIEW: Heisenberg

Heisenberg

October 13, 2016: Though the play’s name is that of a theoretical physicist, chemistry — to be pronounced with a sizzling “s” — is the science that first comes to mind as you watch the splendid Broadway debut of Simon Stephens’s “Heisenberg,” which opened on Thursday night at the Samuel J. Friedman Theater

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BROADWAY REVIEW: Oh, Hello

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October 10, 2016: The dirty old men have occupied Broadway. They are an army of only two, yet they seem destined to conquer and slay anyone who ventures into the Lyceum Theater, where they have set up their festering — and, admit it, stupendously entertaining — camp.

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BROADWAY REVIEW: Holiday Inn

Holiday Inn

October 6, 2016: The Christmas season seems to start earlier every year, it is often noted — or lamented. Will we soon be hearing sleigh bells in spring? This year, the Roundabout Theater Company has obliged all whose hearts are already pining for candy canes and mistletoe by presenting “Holiday Inn,” a perky but bland stage adaptation of the 1942 movie that is fondly remembered for Bing Crosby’s crooning “White Christmas,” which has been a seasonal favorite ever since.

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BROADWAY REVIEW: The Encounter

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September 29, 2016: See that scruffy-looking guy up there on the stage, the one messing around with the microphones and the plastic water bottles? It turns out that he’s a world-class head shrinker — and head enlarger, too, an all-purpose mind-bender. He is going to retune, rearrange and reproportion your senses, while taking you places you never expected to visit.

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