BROADWAY REVIEWS

BROADWAY REVIEW: Betrayal

September 5, 2019: How can a naked space seem so full? Feelings furnish the stage in the resplendently spare new production of Harold Pinter’s “Betrayal,” which opened on Thursday night at the Bernard Jacobs Theater, and they shimmer, bend and change color like light streaming through a prism. Directed by Jamie Lloyd — and acted with surgical precision by Tom Hiddleston, Zawe Ashton and Charlie Cox — this stripped-down revival of Pinter’s 1978 tale of a sexual triangle places its central characters under microscopic scrutiny, with no place to hide. Especially not from one another, as everybody is on everybody else’s mind, all the time. They are also all almost always fully visible to the audience. This British version is the most merciless and empathic interpretation of this much performed work I’ve seen, and it keeps returning to my thoughts in piercing shards, like the remnants of a too-revealing dream. I had heard good things about this “Betrayal” when it debuted in London earlier this year, but I didn’t expect it to be one of those rare shows I seem destined to think about forever.

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BROADWAY REVIEW: Moulin Rouge! The Musical

July 25, 2019: This one’s for the hedonists. All you party people should know that the Al Hirschfeld Theater has been refurbished as an opulent pleasure palace, wherein decadence comes without hangovers. That’s where the euphoric “Moulin Rouge! The Musical” opened on Thursday night in a shower of fireworks, confetti and glittering fragments of what feels like every pop hit ever written. Inspired by the 2001 Baz Luhrmann film and directed with wicked savvy by Alex Timbers, this “Moulin Rouge” is a cloud-surfing, natural high of a production. It has side effects, for sure, including the vertigo that comes from having your remembrance of songs past tickled silly and the temporary blockage of any allergies to jukebox musicals. But for its plump, sleek two-and-a-half hours of stage time, “Moulin Rouge” — which stars a knockout Karen Olivo, with Aaron Tveit and Danny Burstein doing their best Broadway work to date — has the febrile energy you may associate with the wilder parties of your youth, when gaudy nights seemed to stretch into infinity.

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BROADWAY REVIEW: Beetlejuice

April 25, 2019: The dead lead lives of noisy desperation in “Beetlejuice,” the absolutely exhausting new musical that opened on Thursday at the Winter Garden Theater. This frantic adaptation of Tim Burton’s much-loved 1988 film is sure to dishearten those who like to think of the afterlife as one unending, undisturbed sleep. Because as directed by a feverishly inventive Alex Timbers, and starring Alex Brightman as the manic ghoul of the title, this production proposes that not being alive just means that you have to try harder — a whole lot harder — than you ever did before. Otherwise, you’ll wind up invisible, with nary a soul to acknowledge your starry self. And in today’s world of chronic self-advertising, this may be the true fate worse than death.

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BROADWAY REVIEW: Tootsie

April 23, 2019: Comedy rarely flows as smoothly as it does here. The secret is more than the book; it’s the songs. Mr. Yazbek is one of the few composer-lyricists working today who can set jokes to music and make them pay. The most obvious instance in “Tootsie” is “What’s Gonna Happen,” a showstopping patter number for Michael’s ex-girlfriend, the neurotic Sandy (Sarah Stiles). In a tumble of words reminiscent of “Model Behavior” from Mr. Yazbek’s underrated score for “Women on the Verge of a Nervous Breakdown,” she goes well past that verge.

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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: Ain’t Too Proud – The Life and Times of The Temptations

March 21, 2019: While honoring all the expected biomusical clichés, which include rolling out its subjects’ greatest hits in brisk and sometimes too fragmented succession, this production refreshingly emphasizes the improbable triumph of rough, combustible parts assembled into glistening smoothness.

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BROADWAY REVIEW: To Kill a Mockingbird

December 13, 2018: As this is a trial, let’s have a verdict: “To Kill a Mockingbird,” which opened at the Shubert Theater on Thursday, is not guilty. Evidence shows that it does not deface the Harper Lee novel on which it is based, as the Lee estate at one point contended. And far from devaluing the property as a moneymaking machine, it has created an honorable stream of income that should pour into the estate’s coffers for years to come. But as any reader of the novel knows, to say something is not guilty is not the same as saying it’s innocent. And this adaptation of “To Kill a Mockingbird” — written by Aaron Sorkin, directed by Bartlett Sher and starring Jeff Daniels — is hardly innocent. How could it be? Every ounce of glossy know-how available at the highest echelons of the commercial theater has been applied to ensure its success, both on Lee’s terms and on what it supposes are ours.

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BROADWAY REVIEW: Harry Potter and the Cursed Child

April 22, 2018:

Time is a dangerous toy in “Harry Potter and the Cursed Child,” the enthralling two-part play about the later life of its title wizard. Various characters in this deluxe London import, which opened on Sunday night at the Lyric Theater, find it in their power to journey into the past, which means altering the future, which means serious trouble for everyone.

In that regard, these stumbling adventure-seekers must be regarded as lesser magicians than their creators, who include J.K. Rowling, the writer of the prodigiously popular Harry Potter fantasy novels, and the poetic director John Tiffany (“Black Watch,” “The Glass Menagerie”). This inspired team bends time to its will with an imagination and discipline that leave room for nary a glitch, making five hours of performance pass in a wizardly wink of an eye.

Featuring a script by Jack Thorne — from an original story by Ms. Rowling, Mr. Thorne and Mr. Tiffany — “Harry Potter and the Cursed Child” also gives vibrant, decades-traversing life to those wistful “what if” speculations about the past that occupy both grown-ups and children. It’s a process that involves folding stories into stories into stories, collapsing years into minutes and making dreams feel eternal, and more vivid than reality.

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BROADWAY REVIEW: Come From Away

March 12, 2017: Try, if you must, to resist the gale of good will that blows out of “Come From Away,” the big bearhug of a musical that opened on Sunday night at the Gerald Schoenfeld Theater. But even the most stalwart cynics may have trouble staying dry-eyed during this portrait of heroic hospitality under extraordinary pressure.

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BROADWAY REVIEW: Dear Evan Hansen

December 4, 2016: As the title character in “Dear Evan Hansen,” a lonely teenager who inadvertently becomes a social media sensation and a symbol of the kindness that is often cruelly absent in high school hallways, the marvelous young actor Ben Platt is giving a performance that’s not likely to be bettered on Broadway this season. What’s more, this gorgeous heartbreaker of a musical, which opened at the Music Box Theater on Sunday, has grown in emotional potency during its journey to the big leagues, after first being produced in Washington and Off Broadway. Rarely – scratch that — never have I heard so many stifled sobs and sniffles in the theater.

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