BROADWAY REVIEWS

BROADWAY REVIEW: A Gentleman’s Guide to Love and Murder

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November 17, 2013: Serial killers may be all the rage on bookshelves and television screens — so ubiquitous, you’d think they made up a major demographic of the world population — but they are comparatively rare in the peppier precincts of musical theater. Now, after a long dry spell, Broadway has a deadly sociopath to call its own. Please give a hearty welcome to Monty Navarro, the conniving killer who helps turn murder most foul into entertainment most merry in the new musical A Gentleman’s Guide to Love and Murder.

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BROADWAY REVIEW: Pippin

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April 25, 2013: What do I have to do to make you love me? This plea throbs as a subtext in every musical that’s made it to Broadway. That is, after all, the impulse that gets actors out of bed in the morning. But the question has seldom been posed as nakedly and aggressively as it is in Diane Paulus’s revival of “Pippin,” which opened on Thursday night at the Music Box Theater.

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BROADWAY REVIEW: Motown The Musical

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April 14, 2013: For all the richness of its gold-and-platinum-plated soundtrack, “Motown” would be a much more satisfying nostalgia trip if Mr. Gordy and his collaborators were more effective curators of both story and song, rather than trying to encompass the whole of the label’s fabled history in two and a half hours. Irresistible as much of the music is, I often had the frustrating impression that I was being forced to listen to an LP being played at the dizzying, distorting speed of a 45."

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BROADWAY REVIEW: Matilda the Musical

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April 11, 2013: Rejoice, my theatergoing comrades. The children’s revolution has arrived on these shores, and it is even more glorious than we were promised. Rush now, barricade stormers of culture, to the Shubert Theater, and join the insurrection against tyranny, television, illiteracy, unjust punishment and impoverished imaginations, led by a 5-year-old La Pasionaria with a poker face and an off-the-charts I.Q.

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BROADWAY REVIEW: Kinky Boots

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April 4, 2013: Cyndi Lauper knows how to work a crowd. Making her Broadway debut as a composer with 'Kinky Boots,' the new musical that opened on Thursday night at the Al Hirschfeld Theater, this storied singer has created a love- and heat-seeking score that performs like a pop star on Ecstasy. Try to resist if you must. But for at least the first act of this tale of lost souls in the shoe business, you might as well just give it up to the audience-hugging charisma of her songs.

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BROADWAY REVIEW: Cinderella

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March 4, 2013: OMG, everybody, they’re doing instant makeovers at the Broadway Theater. First, this scruffy fox and raccoon suddenly turn into total studmuffins in satin suits....

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BROADWAY REVIEW: Once

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March 18, 2012: Sometimes how cool you look depends on where you’re standing. When I first saw the musical “Once” at the New York Theater Workshop last December, it registered as a little too twee, too conventionally sentimental, for the East Village. Yet on Broadway — at the Bernard B. Jacobs Theater to be exact, where “Once” opened on Sunday night — what is essentially the same production feels as vital and surprising as the early spring that has crept up on Manhattan.

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BROADWAY REVIEW: The Book of Mormon

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March 24, 2011: This is to all the doubters and deniers out there, the ones who say that heaven on Broadway does not exist, that it’s only some myth our ancestors dreamed up. I am here to report that a newborn, old-fashioned, pleasure-giving musical has arrived at the Eugene O’Neill Theater, the kind our grandparents told us left them walking on air if not on water. So hie thee hence, nonbelievers (and believers too), to “The Book of Mormon,” and feast upon its sweetness.

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BROADWAY REVIEW: The Lion King

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November 14, 1997:

Suddenly, you're 4 years old again, and you've been taken to the circus for the first time. You can only marvel at the exotic procession of animals before you: the giraffes and the elephants and the hippopotamuses and all those birds in balletic flight. Moreover, these are not the weary-looking beasts in plumes and spangles that usually plod their way through urban circuses but what might be described as their Platonic equivalents, creatures of air and light and even a touch of divinity. Where are you, really, anyway? The location is supposed to be a theater on 42d Street, a thoroughfare that has never been thought of as a gateway to Eden. Yet somehow you have fallen into what appears to be a primal paradise. And even the exquisitely restored New Amsterdam Theater, a former Ziegfeld palace, disappears before the spectacle within it.

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BROADWAY REVIEW: Jersey Boys

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January 1, 1970: The real thrill, at least for those who want something more than recycled chart toppers and a story line poured from a can, is that Mr. Young (Frankie Valli) has crossed the line from exact impersonation into something more compelling.

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