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Photo: Julieta Cervavtes

BROADWAY REVIEW: Hillary and Clinton

April 18, 2019: Instead — and this is what makes this play something more than a receptacle for recycled observations about its famous subjects — “Hillary and Clinton” strips its protagonist down to her most ordinary self. And it invites us to look at her with the easy familiarity with which we might regard someone living next door, or in our own family. Or even our very selves, as we could be in an alternative universe, such as the one this play presents.

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BROADWAY REVIEW: Hadestown

April 17, 2019: All your favorite Greeks are heading somewhere in “Hadestown,” the sumptuous, hypnotic and somewhat hyperactive musical that opened on Wednesday night after its own twisty 13-year road to Broadway. Eurydice descends to the underworld; Orpheus follows to retrieve her. Persephone spends six months aboveground living the good life of summer and song before returning for six months below with Hades. (He’s her husband.) Hermes, of course, has wings on his feet. And the Fates (at least in this version) are always darting about, minding everyone’s business. But watching “Hadestown” unfold so gorgeously at the Walter Kerr Theater, I found myself thinking of other Greek characters: those lucky few saved from heartbreak by radical metamorphoses.

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BROADWAY REVIEW: Burn This

April 16, 2019: But this “Burn This,” which is steeped in the rich compassion for the lonely and lost that is the hallmark of works by Mr. Wilson (1937-2011), only rarely stirs the heart. In the ideal production, it creates the sense of fire meeting fire in a folie à deux between two ill-matched yet inexorably bound lovers. What we have in this case is a one-man conflagration.

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BROADWAY REVIEW: Oklahoma!

April 7, 2019: How is it that the coolest new show on Broadway in 2019 is a 1943 musical usually regarded as a very square slice of American pie? The answer arrives before the first song is over in Daniel Fish’s wide-awake, jolting and altogether wonderful production of “Rodgers and Hammerstein’s Oklahoma!,” which opened on Sunday night at the Circle in the Square Theater. “Oh, What a Beautiful Mornin’” is the title and the opening line of this familiar number, a paean to a land of promisingly blue skies and open spaces. But Curly, the cowboy who sings it, isn’t cushioned by the expected lush orchestrations. Nor is the actor playing him your usual solid slab of beefcake with a strapping tenor. As embodied by the excellent Damon Daunno, this lad of the prairies is wiry and wired, so full of unchanneled sexual energy you expect him to implode. There’s the hint of a wobble in his cocky strut and voice.

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BROADWAY REVIEW: King Lear

April 4, 2019: Could we please have a little quiet? There’s a great actress onstage at the Cort Theater, and I’d like to hear what she’s saying. That was the way I felt during much of Sam Gold’s production of “King Lear,” which opened on Thursday night with the extraordinary Glenda Jackson in the title role. It should surprise no one that Ms. Jackson is delivering a powerful and deeply perceptive performance as the most royally demented of Shakespeare’s monarchs. But much of what surrounds her in this glittery, haphazard production seems to be working overtime to divert attention from that performance. That includes a perfectly lovely string quartet — playing original music by Philip Glass, no less — that under other circumstances I would have enjoyed listening to.

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