In Transit

In Transit is a feel good show that makes New York City look like a squeaky clean place where everyone gets alone, smiles at one another, and finds their path in life. I wish this were true, but those who live here know differently. When is the last time you spoke to a random stranger on the subway? We don't look up from our phones long enough to make eye contact, let alone actually have a conversation.

In Transit is the first Broadway musical to feature a cappella music. The creative team features Kristen Anderson-Lopez of Frozen fame, though this piece doesn't soar nearly as high. One's opinion of this show will depend largely on their fondness for a cappella music. I honestly find it exhausting to listen to. For me it's overwhelming to hear all of that sound and try to take it in while also trying to decipher lyrics and a story. If you sang in one of those vocal groups with a quirky name in college, you may feel differently.

This one-act goes by at a feverish pace. The intention is to keep the energy flowing, like a rush hour express train, though it keeps any character or storyline from fully developing. The majority of characters are stereotypes: the out of work banker, the closeted gay man with a born-again mother, his eager to be married fiance, a recently dumped twenty-something, and because it's New York, a struggling actress. These roles are performed with vocal precision and palpable energy by James Snyder, Justin Guarini, Telly Leung, Erin Mackey, and Margo Seibert respectively. The one character who is written in three dimensions is Seibert's Jane. She shows genuine heartbreak when she finally wins a Broadway role, only to have it stolen by a star. The best scene in the show involves Jane riding the subway back and forth to JFK, unable to get on the plane to her high school reunion and face failure. Boxman, a subway performer with whom she often crosses paths, gives her a few inspirational words that help her to press onward in her pursuit of Broadway.

This piece should do very well touring and regionally, particularly in places without public transportation. In this world, the subway is a land of opportunity where all of your dreams can come true. But, New Yorkers...we know better.

Sunset Boulevard

Every once in a while, a show lands a theatre that suits it perfectly. Wicked and Lion King can fill big barns like the Gershwin and Minskoff, Next to Normal was right at home in the intimate Booth, and then there is the revival of Sunset Boulevard, which I cannot imagine anywhere but the historic and grandiose Palace. The ghost of Judy Garland must be very much at home in this morose, reflective production.

As a Broadway fanatic, I am embarrassed to say I didn't have much knowledge of Sunset Boulevard other than the casting drama involving Patti LuPone. Glenn Close certainly has a commanding presence as the tragic Norma Desmond. Her voice is not first rate, though the vocal impurities add to the sadness of the aging diva who is cracking before our very eyes. That being said, I don't see anything singular about Glenn Close's permanence that wouldn't have been conveyed by any other film actress of a certain age. Jessica Lange comes to mind as another woman who could fill Demond's pumps. Lady Gaga is someone I could see playing the role in future revivals, but that is a conversation for another day.

Sir Andrew Lloyd Webber's scores are known for recognizable numbers that become hits, such as Music of the Night, I Don't Know How to Love Him, Memory, and Don't Cry for Me Argentina. Sunset has two such numbers in with One Look and As If We Never Said Goodbye. Both are show stoppers, and though Close doesn't sing "Goodbye" like Patti did, she acts the heck out of it. Unfortunately the rest of the score is largely forgettable.

The full orchestra onstage is one of the highlights of this production as it harkens back to the old MGM films of the golden age. This production features a few interesting technical elements, such as the interesting construction of Norma's car using actors and lights, and extremely ornate costumes that queens will die for.

The Patti fan in me loves to hate Glenn Close's singing, but you cannot deny her extraordinary range as an actress. The finesse and nuance in the final scene is a thing of beauty. After Norma kills Joe in a jealous rage, we have every reason to loathe her, but we don't. We cry for her when she shouts her famous line "Mr. DeMille, I'm ready for my close-up." This once powerful woman has been so undone by the pressures of Hollywood that she has tricked herself into believing that the present is not real. In the hands of a less capable actress, the scene would be pathetic, but the greats like Close (and LuPone) have you so cleverly nestled in the palm of their hand that you fall for their every move. 

Natasha, Pierre, and the Great Comet of 1812

Tolstoy's War & Peace is an obvious subject for a musical, right? This may be a loose adaptation, but Tolstoy's seminal work was the inspiration, nonetheless. I chose not to read much about the show before seeing it because I wanted to be surprised. I was expecting a classical, traditional piece of theatre. Consequently, I was shocked to hear a rock/folk opera. Dave Malloy's score is cerebral, evocative, and quite quirky. His lyrics mirror the Russian writing style in the sense that they take paragraphs to convey what other others could say in a sentence. The prologue is a highlight in the way it quickly introduces each primary character and their relationships to one another, repeatedly adding one new character for each round of the song. By the time the prologue finishes, we've heard about Andrey and Natasha on a loop, though the brooding Pierre remains a mystery until the final seconds.

Josh Groban as Pierre is clearly selling the tickets. Though I would have loved to hear his stellar voice more often, it's refreshing to see a major celebrity perform in a show without being the singular star. There was something very folksy about seeing him sit onstage playing the accordion while lesser-known performers stole the spotlight. His "Dust and Ashes," building from delicately pensive to raw and powerful is somewhat of an 11 o'clock number for act I. The majority of his work in act II  is upstage by the erratic Natasha and Anatole, though his duet with Natasha provides an emotional climax in the penultimate song. "The Great Comet of 1812" is another vehicle for Groban's pristine vocals, highlighted by the backing of sweeping choral arrangements.

Denee Benton's Natasha has a strong presence and she's downright effervescent with youthful hope and joy in act I. But when she falls for Anatole, you stop rooting for her. You see that she's shooting herself in the foot and as an observer, feel helpless to stop it. I shifted my allegiances to Sonya (Brittain Ashford) as she tries desperately to stop her friend Natasha from ruining her life in her Lilith Fair-esque solo "Sonya Alone". I felt about Benton's Natasha like I've felt about every Cosette I've ever seen in Les Miz. She has a beautiful voice, but she's not a fully developed character. She allows her entire future to be undone when Anatole (Lucas Steele) bats his eyelashes. Speaking of Steele, this is what it means to be a scene stealer. He verges on pushing his flamboyant Anatole over the top, but he never quite crosses the line. His portrayal stays grounded in the sense that all Anatole is really after is love, but he doesn't yet understand what that means and how his pursuits affect those around him.

Rachel Chavkin's direction is the true star of the show. I am a big fan of scrapping the traditional proscenium staging and Mimi Lien's scenic design completely reimagines the Imperial. With onstage banquets and tables, each seat in the house provides a completely different perspective on the action. If you are unnerved by being approached closely by actors, even in the mezzanine, steer clear of this show. The close proximity of the performers and the club-style design puts the audience in the middle of the party in 19th century Russia. This piece is provocative, so if you don't like your Russian theatre edgy, you should probably walk a block south and see Anastasia.

Sunday in the Park with George

I will preface by saying that Sunday in the Park with George is a very close second behind A Chorus Line on my list of favorite musicals, so you won't get objectivity from me. In my opinion, this is the most perfect score ever written for the musical theatre. The complexity of Stephen Sondheim's work, and the way in which it mimics Seurat's pointillistic style, is a marvel. It is highbrow and cerebral, yet also emotionally resonant and accessible.

I love Annaleigh Ashford, but I was surprised when she was cast as Dot/Marie. She doesn't fit the mold of the women who have played the role in major production. That being said, I found myself actually laughing tonight. This show presents pretty heavy material, but Annaleigh was able to mine out every little nugget of comedy. Conversely, this made her more emotional moments even more heart wrenching. I found her Marie to be more engaging than any of the others I've seen. Her southern drawl peppered act II with sass, which again, made the ballads ever more powerful. Her connection to her mother in the painting during "Children and Art" was palpable.

Jake Gyllenhaal is thoroughly impressive as George. You'll be shocked when you hear him sing. He's not just one of those actors who happens to sing well...he's a Singer with a capital S. His portrayal of the dogs is a highlight as the comedy juxtaposes the seriousness of Act I George. His impeccable diction makes the fast paced numbers,  namely "Color and Light" and "Putting it Together," a dream to listen to.

The supporting cast fills out the painting with standout performances from Erin Davie and Ruthie Ann Miles. This is truly an ensemble show and it's refreshing to see actors, the aforementioned specifically, who have starred in previous shows be able to blend into the chorus, yet deliver a knockout line when the libretto dictates.

I firmly believe that our favorite shows affect us differently at different phases of our lives. We relate to characters differently, a previously ignored song stands out, or a particular scene is revealed to us in a new light. That new moment for me tonight was Dot's speech before "Move On". When she explains what she learned from George, she talks about concentration. When she was younger, she thought it meant standing still and focusing, but now she knows concentration means feeling comfortable where you are, not living in the past or the future. This really stuck me. It's a common sentiment to live in the moment and live for today, but the idea of concentration really gripped me. In a sense, she's admitting that George was never in the wrong in their relationship, but he helped her to grow and change, which helps her to go forward. It's absolutely gutting to think that two people can be right for one another all along, but the timing doesn't work. However, Dot and George don't feel that way in the end. They honor their time together and move forward. I always say that Sunday is the most cathartic closing number in the entire musical theatre canon and George's final spoken sentence really provides closure and hope for the audiences. "White a blank page or canvas, his favorite, so many possibilities."

Spring 2017 Broadway Preview

Y'all know that if there is anything I love in this world it is a great diva turn, and this spring on Broadway we will have a plethora. We have Bette in Hello Dolly, Patti & Christine in War Paint, Glenn in Sunset Boulevard...the list goes on! But who will win that TONY? I'm not going to preview all of the winter and spring offerings, but I am going to highlight a few that really excited me!

Sunset Boulevard
Palace Theatre
Previews begin February 2nd
I always look for the drama in all aspects of life and this show brings it in the form of shade that will be thrown by Patti LuPone from the Nederlander. She famously threw a floor lamp out of her dressing room window when Sir Andrew Lloyd Webber fired her from the London Production in the mid-90s. Thanks to a successful lawsuit, Patti has a beautiful pool in Connecticut. I am looking forward to some star power and screlting from Ms. Close who will not be TONY eligible.

Sunday in the Park with George
Hudson Theatre
Previews begin February 2nd 
I have loved Annaleigh Ashford ever since I saw her buying chips in a 7-11 in Chicago with my mom. She was so sweet to me at the Wicked stage door when I told her that I was at Legally Blonde the day that Laura Bell Bundy's wig fell off during the Bend & Snap. Continuing with the Chicago connection, a few years later on my annual vacation I saw the famous Seurat painting and sat and stared at it for an hour while listening to the cast recording. This is one of the most beautiful scores in Broadway history. I was so upset to have missed it at City Center and I think we are all in for a real treat. This is a limited engagement so get those credit cards out!

Come From Away
Schoenfeld Theatre
Previews begin February 18th
I've heard fabulous things about this show from friends who saw it in DC during the out of town tryout. The subject matter is incredibly intriguing. I'm not going to lie, the casting isn't making me do somersaults, but I'm hoping that the material will knock my socks off.

War Paint
Nederlander Theatre
Previews begin March 7th
Two two-time TONY winners in a musical about makeup mavens...I am so exited for this that I don't even know what to do with myself. I missed the out of town tryout in Chicago by about a week and I was really broken up about. Luckily for me, these broads are coming to the Great White Way. I would die to be involved in this production and get to hear about the drama between Patti and Christine. I am having dreams about the costumes and the makeup. And hello, there is a song called "Pink"...sign me up! Are the Nederlander ceilings high enough for all this Divatude? Who will Antoinette Perry prefer?

The Little Foxes
Samuel J. Friedman Theatre
Previews begin March 29th
Cynthia Nixon and Laura Linney star in a play about greedy Southern Belles. What could be better? To make it more interesting, they will be alternating in the roles of Regina and Birdie. Honestly, when you're as talented as these two, you need a challenge.

Hello Dolly!
Shubert Theatre
Previews begin March 15th
This is so exciting there's an exclamation point in the title. Bette Midler hasn't done a musical on Broadway in 700 years and this is the moment Kweens have been waiting for. I'm going to be completely honest and tell you that I don't really even like this show, but I would see Bette in a musical about coal miners...end of story.

BRIGHT STAR on Broadway

Simply put, Bright Star can be described as Broadway meets Bluegrass. The plot of this musical by Edie Brickell and Steve Martin could easily be a Nicholas Sparks novel, but the music is far more unique. Brickell and Martin capture the heart of the American South in a way that pays nuanced tribute to North Carolina nostalgia. They treat the South with loving care. As someone who grew up on country music, these are songs that would be more capably performed by Alison Krauss than your typical Broadway beltress.

The show begins when Billy Cane (AJ Shively) returns home from the second World War to his backwoodsy North Carolina town. He learns his mother has died and laments her passing, but quickly moves on. He dreams of following his own Bright Star, which is to become a published writer. With the encouragement of his childhood friend Margo Crawford (Hannah Elless) he moves to Asheville in hopes of writing for the Asheville Southern Journal. He soon meets Alice Murphy (Carmen Cusack,) the Journal’s stern editor. She quickly tosses Billy to the curb, but in a moment of fleeting weakness, she gives him a second chance. We are quickly transported back to the 1920s when Alice is a free-spirited teenager in love with Jimmy Ray Dobbs (Paul Alexander Nolan). Alice comes from a working class family, but Jimmy Ray’s father has bigger hopes for his son. When Alice becomes pregnant, Josiah Dobbs (Michael Mulheren) does what he deems necessary to protect his son and ultimately takes Alice’s baby from her, disposing of him off the back of the train. As is the case with all great musicals, things work out for everyone. Alice and Jimmy Ray find one another decades later and fall in love again. Billy becomes a published writer and marries Margo. Oh, and I forgot one small detail…Alice’s baby didn’t die. He was rescued like Moses in a basket by a farmer and his wife; they named him Billy Cane.

If you think I threw that plot twist at you nonchalantly, then you and the show’s audience are in the same boat. The double-timeline structure is a tricky one for an audience to follow, but we will stick with you through the never-ending rising action if the payoff is sweet enough. In this case, the climax was over and done with faster than you could say Yee Haw! Billy invites Alice to visit his family home, she sees the baby sweater she knitted in a box of his old things, they realize they share blood, and they move on happily ever after. Where is Billy’s anger over being lied to by his father? Where is his confusion over which family he should feel allegiance to? Where is his father’s guilt over lying to his son or never helping him to find his birth family? The double timeline and the North Carolina setting do conjure images of a Nicholas Sparks novel, but the questions that are left unanswered and the lack of emotional catharsis are more reminiscent of a lifetime movie.

Though the structure and pacing of the book have serious flaws, the dialogue itself is sharp, witty, and dripping with appropriate southern colloquialisms. The score, both homey and evocative, is hands down the best I’ve heard in show that uses the country vernacular. Walter Bobbie’s direction is as swift and seamless as the clunky book will allow, using stylized movement rather than codified dance to express the melodies and transition between timelines and scenes. Carmen Cusack’s Broadway debut has been a long time coming, but talk about waiting for the perfect role! I have never seen an actress play two distinct ages so convincingly. You believe her when she’s 17 and when she’s 40. For fans of Designing Women, Cusack’s 1940s Alice is a dead ringer for Julia Sugarbaker. She has the musical theatre chops to “act the songs” and develop the character, but in my book nailing this role comes down to that country spirit and she exudes it. Patsy Cline and Dolly Parton would be proud. After having seen this show nearly two weeks ago, Cusack’s performance and the score are two of the three things that have stuck with me. The final thing is one of the most memorable lines I’ve ever heard in a musical: “It would be easier to remove Lincoln’s face from Mt. Rushmore than to remove home from the heart of a Southern Writer.” This motif carries this show, and while it may not sell hundreds of thousands of tickets to a Broadway audience, the sentiment will mean the world to those who get it.

HAMILTON: From the Public to the Rodgers

When I was lucky enough to win the TodayTix lottery to Hamilton at the Public Theatre last February, I had no idea what I was about to experience. In my entire theatre-going life, I've never experienced such a phenomenon. It seemed like every week there were more and more celebrities in attendance and the show just kept extending its run. When the producers announced that they were moving uptown to The Richard Rodgers, I had mixed feelings. This was such a perfect theatrical experience in the intimate Public Theatre, that I feared it would lose its energy in the bigger space. But regardless, I was so happy that I could say, "I saw Hamilton before you even knew what it was." I scoffed when it became part of the mainstream media and normal conversation, asking myself, "is it really that great?" I purchased the cast recording in September and after one listen, I had my answer. "Yes it is".

As an English teacher and a writer myself, I am enamored with Lin's use of language. It is incredibly complex and layered, yet simplistic enough to move the story forward. When I first saw the show downtown I was focusing so hard on the lyrics and got the gist of it, but when I began to listen to the cast recording on repeat, I understood the intricacies of his verbiage. Each time I revisit a song, I pick up on a new phrase that speaks to me. My personal favorite, from the song Burn, is "you have married an Icarus, he has flown too close to the sun". Lin's references to history, mythology, and other works of literature are inspired. My head spins when I consider the amount of time, research, and energy that he poured into this piece. But enough about my obsession with the cast recording....let's fast forward to this past Saturday morning when I checked my email to find that I'd won the lottery yet again. I was skeptical. Would it ruin the perfect experience that I'd had last year at the Public? As I sat front row center at the Richard Rodgers and listened to the opening drumbeats, my question was answered with a resounding NO! 

I know every single word of every song, so not having to concentrate on the lyrics and plot freed me to look at the bigger picture. I saw aspects of the staging, particularly the choreography, that I completely missed the first time. Andy Blankenbuehler's use of postmodern movement seamlessly conveyed the production's overall goal of telling a historical story through a modern lens. I am a dancer myself, and I love that there were so few moments where I could name the movements. Sure, there was an arabesque here and a penche there, but most of the movement was completely unique. While this is largely the same production I saw downtown, the layers were so much more apparent to me. The minimalist set, a tavern setting with a turntable, allows the the text and acting to shine through. Thomas Kail's staging accentuates the material without distracting from it. This show is so special and unlike anything we have ever seen on Broadway.

Daveed Diggs (Lafayette/Jefferson) my second favorite actor in the show was not performing last Saturday and I greatly missed his rapid fire pace as Lafayette the tongue-in-cheek quality with which he imbues his Jefferson. His understudy was fine, but he didn't have Diggs' twinkle in his eye. My number one guy, however, is Leslie Odom Jr. and his performance grabbed me so much more than it did downtown. Don't get me wrong, I loved him downtown, but he has certainly grown into the role. I have seen many a show in my day and I have never seen so much passion in one performance. He had a fire in his eyes that you would normally expect from an opening night performance, not a random Saturday in February. I saw his Aaron Burr more as a narrator this time. Though it is Hamilton's story, Burr is telling it. The songs that reprise the opening theme are a perfect example of this. "How does a bastard, orphan, son of a whore," "Watch this obnoxious, arrogant, loud-mouthed bother, be seated at the right hand of the father" "How does a rag-tag volunteer army in need of a shower, somehow defeat a global superpower" and "How does Hamilton the short-tempered protean creator of the Coast Guard," etc. Clearly, The Room Where it Happens is a straight up showstopper and a huge highlight, but when he sings "now I'm the villain in your history" he truly had my sympathy. Yes, he killed Hamilton, but when you consider everything Hamilton achieved before Burr even became a senator, you can understand why he felt so much resentment. If someone was constantly steps ahead of you for your entire career, how would you handle it?

What strikes me is that it is so commercially successful, but before it was popular it was extremely well written and artistic. It is rare that these combine in a musical. It is more common that you have saccharine shows like Mamma Mia that runs for a decade juxtaposed with beautifully cerebral shows like Sunday in the Park with George that absolutely flop. Hamilton has shown the next generation of composers that you can write something intelligent with artistic merit and still sell tickets. I only hope that this is a gateway to a new generation of musical. 

ALLEGIANCE on Broadway

It has been quite some time since I've written a post just to share my love of a show, but ALLEGIANCE compelled me to do so. I make it my goal each season to see all of the musicals I suspect will receive the big TONY nominations, but when ALLEGIANCE announced a February 14th closing date, I crossed it off of my list. It was only after a dear friend told me that everyone he knew who saw the show wept, that I reluctantly bought a ticket on TDF...and I'm so thankful I did.

The piece penned by Lorenzo Thione, Marc Acito, and Jay Kuo opens in 2001 with Sam Kimura (George Takei) in his military uniform on Pearl Harbor Day. He is visited by a woman who announces that his sister Kei (Lea Salonga) has passed away. He hasn't seen her in over fifty years, but he is immediately visited by her spirit, reminding him that their family has unfinished business. We are then transported back to 1941 when a young Sam (Telly Leung) returns home from college to the family artichoke farm in Salinas, CA. The family's future is wrapped up in Sam, but then Pearl Harbor happens and everything changes. The events that ensue recount one of the darkest parts of America's history. Over 120,000 Japanese Americans were transported to labor camps, not unlike what was happening in Nazi Germany simultaneously. Japanese Americans, including the Kimura family, struggle with their own allegiances. Sam wants to prove just how American he is and eventually joins the Army, while their father refuses to pledge allegiance to a country that essentially disowns his family and finds himself in prison. After the war, Sam returns to a hero's welcome, but finds his dear Hannah (Katie Rose Clarke) gone and the entire Kimura family changed forever.

What struck me so much about this piece was not the music, normally my favorite entry point into the musical, but the storytelling. I certainly learned about Japanese American internment in school, but I never realized how eerily similar it was to Nazi Germany. As Americans, we were horrified to learn what was happening in Europe, yet we had no clue what was happening in our own backyard.

Even more than a history lesson, this piece is one about family and the bonds that unite us across generations or cultures. ALLEGIANCE is not dissimilar to hit shows like Fun Home, Fiddler on the Roof, The Color Purple, Les Miserables, or even The Lion King in its exploration of family. When you see how close this family once was and how America's horrific treatment of them tears them apart, it's nearly impossible not to tear up a little bit.

Adding to the emotion of the piece is actor George Take's real life experience. It was his own childhood, largely spent in internment camps, that inspired the show. Seeing his ability to live his character nightly without any resentment toward his past is the ultimate example of forgiveness. Telly Leung carries this show on his back with drive and conviction, showing us that he is one of Broadway's brightest young stars. This brings us to Lea Salonga, a revelation whose Broadway return is akin to Judy Kuhn's Broadway return in Fun Home. Salonga expertly holds the audience in the palm of her hand as she carries the vocal heft of the show. Every word and every note out of her mouth are so laden with emotion than you shouldn't be surprised if you find yourself sobbing through the piece. But, I'll let you decide for yourself because you must see this remarkable show. It is only here for two weeks and it will be one of those shows that if you miss it, you will regret it.

MISERY on Broadway

MISERY, adapted by William Goldman from Stephen King's bestseller begins with a simple, unassuming house. Snow is lightly falling. There is no grandiose opening of the curtain. The lights at the Broadhurst simply dim as the house rotates to reveal a sickly, exhausted Paul Sheldon (Bruce Willis). Annie Wilkes (Laurie Metcalf) is taking care of him like any friend or family member would, that is until we learn that she is the novelist's "Number One Fan" who also happened to rescue him from a near-fatal car accident. Annie shares her favorite memories of reading Paul's famous "Misery" series while helping him recover from his injuries, but soon he realizes that he is less of a patient and more of a hostage. When Annie finds Paul's latest work, a piece which Annie deems "vulgar," he realizes how truly demented she is. She forces him to burn the book. When Paul attempts to escape, Annie will stop at nothing to keep him there, taking measures that will turn your stomach, until he agrees to write the final installment of the Misery series. Annie even threatens to kill him if he does not complete the final Misery book with the necessary rewrites until it is to her liking. Using a typewriter without the letter "N," he is literally writing for his life.

In the penultimate scene, Annie and Paul reach their final confrontation and only one of them makes it out of the quiet Colorado house. Stephen King is known for his suspense, but this production lacks the energy of the source material. There is no "edge of your seat" quality that you would hope for from King, something that the film did so brilliantly. It's certainly exciting to see stars onstage, but with so many fantastic pieces on Broadway this season, this does not top my list.

Fall/Winter 2015 Broadway Preview

Well friends, the 2014-2015 Tony season is behind us and while big winners like Fun Home. King & I, and Curious Incident are reaping the benefits, many shows have closed. Such is the circle of life on Broadway, although we can't be completely upset because many new exciting shows are opening! I am here to preview some of the shows that I am most excited about. Disclaimer: These are not all the shows opening this fall/winter, but just those that we are particularly excited to see.

HAMILTON
Theatre: Richard Rodgers

Opening: August 8th

Why I'm Excited: This is perhaps the most anticipated Broadway production in years. I saw it front row at the Public. I am debating whether to see it again because it was just so perfect in that intimate setting, but if you didn't see it downtown and you want to see the 2016 TONY winner for Best Musical, get your tickets now!

SPRING AWAKENING

Theatre: Brooks Atkinson

Opening: September 27th

Why I'm Excited: I missed it the first time it was on Broadway but I did catch the national tour. Normally I would say that only 8 years later is too early for a revival, but this is a completely reimagined production by Deaf West that will be performed in American Sign Language as well as being spoken. This pieces will feature Oscar Winner Marlee Matlin as well as Broadway favorites Andy Mientus and Krysta Rodriguez. 

The Gin Game

Theatre: Golden

Opening: October 13th

Why I'm Excited: James Earl Jones & Cicely Tyson.....enough said! 

Dames at Sea

Theatre: Helen Hayes

Opening: October 22nd

Why I'm Excited: Every Broadway season needs an old school favorite and this is it! Plus, I love Mara Davi and haven't seen her on Broadway since A Chorus Line.

Sylvia

Theatre: Cort 

Opening: October 27th

Why I'm Excited: Annaleigh Ashford is attending obedience school to prepare to play the role of a dog in this production.....are you intrigued yet? If not, Matthew Broderick and Julie White also star.

On Your Feet

Theatre: Marquis

Opening: November 5th

Why I'm Excited: We love Gloria! Sure, this may suffer the same fate as most jukebox musicals and lack a strong book, but even so, try to convince me you don't love the Conga! 

Allegiance

Theatre: Longacre

Opening: November 8th

Why I'm Excited: George Takei stars in this new piece set in a Japanese Internment camp. This is new territory for a Broadway musical and also features Great White Way veteran Lea Salonga.

China Doll

Theatre: Schoenfeld 

Opening: November 19th

Why I'm Excited: What goes together better than Mamet and Pacino? Just a word of advice, leave children and home as well as anyone who cringes at the drop of an f-bomb.

The Color Purple

Theatre: Jacobs

Opening: December 10th

Why I'm Excited: The original Broadway production had some bright moments, but overall it was clunky and too long. Luckily this production is helmed by John Doyle, the king of stripping down grandiose shows and presenting exactly what the audience needs to see. Jennifer Hudson will certainly sell enough tickets to keep this production afloat, though I suspect that Danielle Brooks (Orange is the New Black) will be the breakout star of the season. Can we say Best Featured Actress in a Musical??

Fiddler on the Roof

Theatre: Broadway

Opening: December 17th

Why I'm Excited: The Theatre Queens will kill me for this but I've never seen a full production of Fiddler. I love me some Danny Burstein, and although I don't feel we need yet another revival of this Bock & Harnick classic, I have faith that the visionary Bart Sher will reimagine this.  

Noises Off

Theatre: American Airlines

Opening: January 14th 

Why I'm Excited: This is my all time favorite plays! If you've not seen it before, prepare to get an ab workout from laughter. In the world of farce...this play is king, but it's the theatre so let's cal it queen. Andrea Martin, Megan Hilty, and Jeremy Shamos star.  

2015 TONY Predictions

Best Musical Prediction: Fun Home

Best Play Prediction: The Curious Incident of the Dog in the Night Time

Best Book of a Musical Prediction: Lisa Kron, Fun Home

Best Original Score Prediction: Jeanine Tesori & Lisa Kron, Fun Home

Best Revival of a Musical Prediction: The King and I

Best Revival of a Play Prediction: Skylight

Best Performance by a Leading Actor in a Play Prediction: Alex Sharp, The Curious Incident of the Dog in the Night Time

Best Performance by a Leading Actress in a Play Prediction: Helen Mirren, The Audience

Best Performance by a Leading Actor in a Musical Prediction: Michael Cerveris, Fun Home

Best Performance by a Leading Actress in a Musical Prediction: Kristin Chenoweth, On the Twentieth Century

Best Performance by a Featured Actor in a Play Prediction: Micah Stock, It's Only a Play

Best Performance by a Featured Actress in a Play Prediction: Annaleigh Ashford, You Can't Take It with You

Best Performance by a Featured Actor in a Musical Prediction: Andy Karl, On the Twentieth Century

Best Performance by a Featured Actress in a Musical Prediction: Judy Kuhn, Fun Home

Best Direction of a Play Prediction: Marianne Elliott, The Curious Incident of the Dog in the Night Time 

Best Direction of a Musical Prediction: Christopher Wheeldon, An American in Paris

Best Choreography Prediction: Christopher Wheeldon, An American in Paris

Best Orchestrations Prediction: Chris Austin, Don Sebesky, Bill Elliott, An American in Paris

Best Scenic Design of a Play Prediction: Bunny Christie & Finn Ross, The Curious Incident of the Dog in the Night Time

Best Scenic Design of a Musical Prediction: Michael Yeargan, The King and I

Best Costume Design of a Play Prediction: Christopher Oram, Wolf Hall Parts One & Two

Best Costume Design of a Musical Prediction: Catherine Zuber, The King and I

Best Lighting Design of a Play Prediction: Paule Constable, The Curious Incident of the Dog in the Night Time

Best Lighting Design of a Musical Prediction: Donald Holder, The King and I

THE VISIT on Broadway

You are about to hear a tale of revenge, debauchery, and greed. That certainly describes one Kander and Ebb show, but not just the one you are thinking of. Yes, the long-running revival of Chicago is still razzle-dazzling audiences uptown at the Ambassador, but what I want to discuss is their final collaboration, this season’s The Visit. The Visit, starring the incomparable Chita Rivera, tells the story of Claire Zachanassian, a poor Gypsy turned whore who became one of the wealthiest women in the world. Though she has survived many husbands, she declares herself “unkillable”. When she returns to her hometown in an unspecified European country, she finds the village in shambles and the people hungry for her to help them. Throughout the piece, we learn that Claire was once in love with Anton Schell, with whom she conceived a child, but he married Mathilde as her father’s store offered him more of a future. After revealing that Anton’s lies caused her to flee from the town, Claire offers to give the town 10 billion dollars, but only if they will agree to kill Anton. At first, the townspeople grimace at the thought, but as they imagine the luxuries that they could have, dream of “yellow shoes,” and begin purchasing things on credit, their greed overtakes their compassion and they all agree to sacrifice Anton, merely for the sake of “justice.” This tale begs a question that we have all wrestled with before. When wrong is done to us, will forgiveness or revenge win out in the end? We may not know how we’d react in this situation, but we certainly know Claire’s opinion.

This piece has three standouts: Japhy Weideman’s lighting design, Kander & Ebb’s score, and Chita Rivera’s performance. Weideman’s design creates an ominous mood from the very beginning in cold shades of gray. As the performers sing of their memories, the lighting moves into sepia tones that suggest days gone by. I don’t know that I have ever seen a lighting concept that is quite so integral to the storytelling and carried out so effectively. John Kander & Fred Ebb’s final score is perhaps their most complex. The piece is nearly sung through, though Terrence McNally’s trim book holds it all together. This theme of waltzes, particularly the “You, You, You” motif, makes the piece reminiscent of Sondheim’s A Little Night Music. “Winter” and “Love and Love Alone” are standout performances for Chita Rivera’s Claire, while “Yellow Shoes” is a classic Kander & Ebb number if there ever was one, with a toe-tapping rhythm and a lyric that bites.


The show itself is exquisite, but what made this evening a once in a lifetime experience was the postshow discussion by John Kander and Lin Manuel Miranda. These two men represent bookends of a musical theatre composer’s career: the former is experiencing likely his final show on Broadway while the later is preparing to open just his second. As an aspiring musical theatre writer myself, listening to them discuss the writing process brought tears to my eyes at several moments. Kander began by discussing the inspiration for The Visit, which was to take the operatic story of The Merry Widow and “turn it on its ear.” From this idea came the operetta structure and the waltz themes. Miranda commented that, much like Cabaret, this piece gives you beautiful melodies while Ebb’s lyrics “step on your throat”. He then compared the “Yellow Shoes,” the most haunting number in the show to “Tomorrow Belongs to Me” on steroids. A particular highlight was when Miranda shared his favorite saying of Kander’s. “My conscience is clear” is what he says when he has finished writing for the day. Both men also sang the praises of star Chita Rivera, who also stepped onto the stage with director John Doyle for a brief moment. Miranda told a story from last week’s Drama League Awards, where Chita hugged him on her way to accept her award for best performance and whispered “Viva Puerto Rico!" Kander’s final remarks were directed toward Rivera, stating that this was a very different role for her, who we all know best as the dancing dynamo from West Side Story and Chicago. “She’s famous for movement, but watching her stand still is breathtaking.” At 82, Chita is more dazzling than ever, Claire’s mere presence still has the ability to put this downtrodden town in a tizzy, and that is the very heart of this show. In the best Broadway season I have seen in my lifetime, Chita Rivera is still the brightest of stars.

IT SHOULDA BEEN YOU on Broadway!

It Shoulda Been You, one of the most anticipated new musicals of the Broadway season marks the directing debut of TONY and EMMY winner David Hyde Pierce. This stellar cast includes Tyne Daly, Harriet Harris, Sierra Boggess, Lisa Howard, Chip Zien, Montego Glover, and David Burtka to name a few. This new musical comedy about families from different backgrounds begins previews on March 17th and opens at the Brooks Atkinson on April 14th. In the meantime, check out this great youtube preview featuring the cast http://bit.ly/1CxzKOP.

We are also offering a great new chance to win tickets between now and the opening. You'll get the chance to gain multiple entries to the contest by performing different tasks on social media and by sharing your own wedding stories with us. Each week one lucky individual will receive a pair of tickets to Broadway previews. Additionally, one lucky winner will receive an original song written for them by show composers Hargrove and Anselmi based on the story they submitted. What could be better than that? The link to the contest page can be found here: http://bit.ly/1BcRzWp

Start reminiscing about your own crazy wedding stories and we will see you on social media!

Facebook: /shouldabeenyou
Twitter & Instagram: @shouldabeenyou

DISGRACED on Broadway

Dear readers, I want to take this opportunity to make one final push for one of the finest, most thought-provoking plays I've seen on Broadway in years. Do your best to catch it before it closes on March 1st! I want to share with you a special discount code for tickets as well as a new trailer for the play. Below is my review of the play.

Code DIBBOX105 can be used over the phone (212-947-8844), in person at the Lyceum Theatre Box Office (149 West 45th Street), or online at TelechargeOffers.com. The discount offers $95 Select Orchestra and Mezzanine seats and $55 Rear Mezzanine seats. Some black out dates may apply.

The new trailer can be found here: https://www.youtube.com/watch?v=qn-py-3JJrE

A few days ago I had the pleasure of seeing DISGRACED on Broadway at the Lyceum Theatre. I didn't do much research beforehand and needless to say, I was surprised. Ayad Akhtar's play is though provoking and it will hit your preconceptions like a punch in the face. You have a Muslim Pakistani man, Amir (Hari Dhillon) who is married to a white woman, Emily (Gretchen Mol). Amir works as a lawyer with Jory (Karen Pittman), whom is married to Isaac (Josh Radnor). Isaac and Emily are both artists and having a secret affair. The fifth character, Abe, (Danny Ashok) is Amir's nephew and a supporter of a radical Imam. So now you are caught up.

I saw this play as an allusion to Adam and Eve. Amir has renounced his Muslim upbringing and wants nothing to do with it, while his wife Emily celebrates Islam, studies Islamic art, and encourages Amir to go back to his roots. When Abe wants legal help for an Imam accused of supporting terrorist activity, Emily convinces Amir to jump in. When Amir does get involved, even on the fringe, that's when things fall apart, just as they did for Adam and Eve when Eve convinced Adam to eat the apple. Ownership is such a major theme in this play. Each character meets their downfall when they choose to take or not to take ownership of their own actions. This is particularly interesting because coupling is so important in the structure of Akhtar's play. We have the marital duos and the career duos, but each conflict is ultimately about individuals' decisions.

You may think you are completely open-minded when it comes to race and religion, but Akhtar's work will make you feel uncomfortable. It forces you to ask yourself the difficult questions. It is not for the faint of heart, but if you expect theatre to make you think and feel, this is your show. Don't make plans for any post-show events unless you can discuss the play. Trust me, you will have plenty to talk about. 

LOVE LETTERS on Broadway

Love Letters by A.R. Gurney premiered on Broadway in 1989 and the current revival, directed by Gregory Mosher, allows an entirely new generation to be exposed to this intimate work. This play about the ever-changing relationship between two friends over the course of fifty years has a sense of nostalgia without feeling dated. 

The stage is bare, aside from a table, two chairs, and a lighting fixture or two. The actors read their letters aloud side-by-side, yet they never interact. It is as if an invisible brick wall separates the two, just as states or countries often did. Though it is performed in one act, the play can be divided into four distinct phases in the characters lives: grade school, prep school, college, and adulthood. Since Ms. Farrow and Mr. Dennehy are actors of a certain age, it is difficult to sense a difference between their grade school selves and their prep school selves. Ms. Farrow's Melissa does have a youthful flippancy about her that comes across in her letters as she verbally signs her name with a "Valley Girl" flair. One hopes that during the run, she will find different colors and inflections to differentiate her very young self from her less young self. Ditto for Mr. Dennehy's Andy. 

When the characters reach their college years, that is when the magic starts to happen. The characters come alive as if reincarnated from their letter-bound state. Andy becomes more focused on his future; meanwhile, Melissa flirts with an artistic lifestyle and remains ever the free spirit. We can feel the magnetism between them, but distance and other obstacles keep getting in the way. As an audience, we want them to stop writing so many damn letters and become a real couple already, but time has other plans. 

Eventually Andy meets a lover in Japan and out of jealousy, Melissa quickly marries. When each couple eventually separates, we hope that Melissa and Andy will finally realize how they feel about one another, but it is not to be. Andy marries a much classier woman and Melissa immerses herself first in her art, and then in her drinking. Late in life, Andy and Melissa finally have an affair, but being a Senator, he can never leave his wife. This ultimate realization that she will never have Andy sends Melissa into a tailspin and he struggles to pick up the pieces. 

As an audience member, this is a difficult piece to wrestle with. Should we feel happy for Andy and Melissa and celebrate their 50 years of friendship? After all, it is rare for any relationship to last that long. Or, do we mourn the marriage that was never to be? Their love seemed so palpable in the letters. It was so real on paper that in the flesh it could never measure up. Since seeing the play last week, I've had the nagging feeling that this seemingly antiquated letter relationship is not so different from the "relationships" we have over email and text. You will have to judge for yourself. 

See Mia Farrow & Brian Dennehy in Love Letters at the Brooks Atkinson Theatre through October 10th. Carol Burnett replaces Ms. Farrow through November 8th. Alan Alda & Candice Bergen take over until December 5th. Stacy Keach & Diana Rigg helm the production through January 9th and finally, Martin Sheen & Anjelica Huston finish the run on February 15th. 

IF/THEN: An Ordinary Story About Ordinary People

People, we have a new turntable on Broadway, and no, I'm not talking about the revival of Les Miserables. Tom Kitt & Brian Yorkey's new musical IF/THEN opens tonight on Broadway at the Richard Rodgers Theatre. This is a modern musical about everyday people doing everyday things. Elizabeth (Idina Menzel) is a recently divorced almost-forty Urban Planner who has recently returned to Manhattan. Urban Planning, how modern? She is faced with a series of choices, both personally and professionally, that will affect her life drastically. Pretty ordinary, right? None of this screams, "let's make a musical," right? I've always loved the old saying "the characters sing when they can't speak anymore," but I rarely felt that these characters were pushed to the emotionally brink, at least not enough to merit a song. The only thing really intriguing about the plot is the overlapping exploration of Elizabeth's multiple lives. The audience gets to watch both sides of her choices play out, which is fantastic in theory, but really makes for a confusing plot. If you're a fan of the show LOST, think of those flashes-sideways and you'll have an idea of what is going on here.

The opening scene, set in Madison Square Park, is reminiscent of Sunday in the Park With George as the actors seem to spring out of the set. The opening number speaks repeatedly about choices, and though it is didactic and basically hits you over the head with the themes of the show, at least it let's the audience know what we will be seeing. It is very Comedy Tonight in that way, which is no surprise since Tom Kitt has mentioned more than once that he is a Sondheim disciple. 

Elizabeth (Idina Menzel) faces an endless series of choices in the show, beginning with the decision to go by 'Liz' or "Beth". She carries this show on her back and vocally, she is stunning as always. Her vocal power hasn't regressed at all in the ten years since she last Defied Gravity. The highlight is certainly the 11 o'clock number where she questions why she did what she did before finding contentment in the finale. I didn't find the character particularly interesting, but she does well with what she is given. You can see how tortured she is when her life doesn't go the way she planned, and she's way too proud to ever ask for help from friends, even though she is always a rock for them.

Kate (LaChanze) is the standout of the show. Her performance is what the "Best Featured Actress" TONY was made for, a bright light in an average production. She delivers the one liners perfectly with snap, and sometimes with bite. Her energy is absolutely palpable, even from the rear mezzanine where I so humbly sat. Her confidence and strength play perfectly against Elizabeth's confusion and uncertainty.

In the show that is a not-so-subtle love letter to RENT, it's fitting that Anthony Rapp plays Lucas like he played Mark. Lucas is all "power to the people" and sexual confusion, which is both annoying and frustrating. It just seems so been there, done that. In the past, and in one of the many alternating presents, Lucas and Elizabeth had/have a romantic relationship. Maureen and Mark anyone? Do we see it yet?

Ultimately, Michael Greif's production begs us to ask ourselves "what happens to the other versions of ourselves when we make different choices?" It certainly makes you think about your own life choices, and for that, we should applaud this production. Cut the plane crash, the bisexual bestie from 1994, and the shmaltzy melodrama and we could have something here, but as of now, it's nothing all that special. 

Ticket Giveaway for THE CRIPPLE OF INISHMAAN on Broadway!

A Broadway season that has already marked the Broadway returns of numerous fan favorites will get even better on April 12th when Daniel Radcliffe returns to the boards. The Cripple of Inishmaan, already a hit on the West End stage, comes to Broadway this spring.

“Daniel Radcliffe delivers his finest performance to date. He is remarkable,” raves The New York Times. Radcliffe, star of the eight Harry Potter films, makes a triumphant return to Broadway following his 10-month sold out run in How to Succeed in Business Without Really Trying in the Broadway premiere of Martin McDonagh's riotous comedy directed by Tony® award winner Michael Grandage.

Set on the remote island of Inishmaan off the west coast of Ireland, word arrives that a Hollywood film is being made on the neighboring island of Inishmore. The one person who wants to be in the film more than anybody is young Cripple Billy (Radcliffe), if only to break away from the bitter tedium of his daily life. McDonagh’s comic masterpiece examines an ordinary coming-of-age in extraordinary circumstances and confirms his position as one of the most original Irish voices to emerge in the second half of the twentieth century.


"5 Stars! A stupendous performance by Daniel Radcliffe. The finest piece of acting I have seen all year.” - Tim Walker, The Sunday Telegraph


“The most politically incorrect play in the West End – and probably the funniest.” - Robert Gore-Langton, The Mail on Sunday

To enter our ticket giveaway, reply to the following trivia question in the "comments" section below by Monday March 17th. Be sure to include your email address so that we can contact you.

In which play did Daniel Radfcliffe makes his Broadway debut? Good Luck!

TICKETS
Tickets are currently available on Telecharge.com:
https://www.telecharge.com/Broadway/The-Cripple-of-Inishmaan/

THEATRE
The Cort Theatre 138 West 48th Street (btwn 6th & 7th Aves) New York, NY 10036

PERFORMANCE SCHEDULE
Previews begin Saturday, April 12. Opening Night is Sunday, April 20.
Tuesdays: 7pm
Wednesdays: 2pm and 8pm
Thursdays: 7pm
Fridays: 8pm
Saturdays: 2pm & 8pm Sundays: 3pm

ONLINE & SOCIAL NETWORKS
Website: www.TheCrippleofInishmaan.com Facebook: www.Facebook.com/InishmaanBway
Twitter: www.Twitter.com/InishmaanBway
Instagram: www.Instagram.com/InishmaanBway

Win a Pair of Passes to THE REALISTIC JONESES on Broadway!

If you've ever wondered about the origin of the phrase "Keeping up with the Joneses," this dynamic new play by Will Eno will shed some light on the situation.

What do you really know about your neighbors?

This spring, TONI COLLETTE, MICHAEL C. HALL, TRACY LETTS, & MARISA TOMEI invite you to find out!

THE REALISTIC JONESES Written by Will Eno Directed by Sam Gold
Academy Award nominee Toni Collette (Muriel’s Wedding, Hostages), Golden Globe winner Michael C. Hall (Dexter, Six Feet Under), Tony Award winner Tracy Letts (Who’s Afraid of Virginia Woolf, Homeland) and Academy Award Winner Marisa Tomei (My Cousin Vinny, The Wrestler) star in THE REALISTIC JONESES, the new play about love and life, friends and neighbors.
Written by Pulitzer Prize finalist Will Eno and directed by Sam Gold (Fun Home), it’s an outrageous, inside look at the people who live next door, the truths we think we know and the secrets we never imagined we all might share.

To enter our contest, post your answer to the following question in the comments section below, along with your email address so we can contact the winner. Please reply no later than Friday February 21st.

Tracy Letts is not only an actor, but also an award winning playwright. For which play did he win the 2008 Pulitzer Prize for Drama? Good luck and come back and visit us soon!

THEATRE
Lyceum Theatre
149 West 45th Street
(Between Broadway and 6th Avenue) New York, NY 10036
PERFORMANCE SCHEDULE
Monday & Tuesday @ 8pm, Wednesday @ 2pm & 8pm, Thursday & Friday @ 8pm, Saturday @ 2pm & 8pm
Beginning April 7:
Tuesday @ 7:30pm, Wednesday @ 2pm & 7:30pm, Thursday @ 7:30pm, Friday @ 8pm, Saturday @ 2pm & 8pm, Sunday @ 3pm
ONLINE & SOCIAL NETWORKS Website: www.TheRealisticJoneses.com Facebook: www.Facebook.com/RealisticBway Twitter: www.Twitter.com/RealisticBway Instagram: www.Instagram.com/RealisticBway 

Choreography of the Courtroom: A Time To Kill on Broadway

"God had a son, he didn't have a daughter." This is Carl Lee Hailey's (John Douglas Thompson) defense for killing the two men who raped his young daughter in A Time To Kill at the Golden Theatre on Broadway. In an age of overproduced theatrical spectacles, it's refreshing when the story is the star. Based on the novel by John Grisham, Rupert Holmes' adaptation fits the stage perfectly. He uses just enough legal jargon to build excitement and set the scene without losing the common man. Director Ethan McSweeny's decision to put the audience in the jury box is simple, yet effective. It is the perfect way to engage the audience. After all, the courtroom is just a theatre with actors, isn't it? At least you'll feel that way when Jake Brigance (Sebastian Arcelus) and Rufus R. Buckley (Patrick Page) make their opening remarks.

Sebastian Arcelus is incredibly engaging as the golden boy defense attorney with a heart of gold. You'll want to root for him...even if you hate Ole Miss. He has that casual, boy next door look about him, which perfectly juxtaposes the seriousness of the murder trial that he is defending. Arcelus has a quiet swagger about him and he's just so endearing; I'd even call him a modern day Atticus Finch. All those khaki suits against Buckley's black and navy, though it's just a little too obvious that he is supposed to be "the good guy". Speaking of Patrick Page, his Rufus R. Buckley is just as pompous as every big time prosecutor that you love to hate, and though he's actually from the Pacific Northwest, his Mississippi accent is spot on. Ashley Williams' Ellen Roark, the sassy law student, threw me for a loop. She's a combination of Vivienne Kensington and Elle Woods, but her sharp sense of humor provides a much needed lightness to the otherwise incredibly tense plot.

It's been a while since I've seen a production so simple, yet lacking nothing. The rich wooden set creates the perfect courtroom, while the video projections display just enough of the racial tension to create a mood and establish a context. The most memorable production element is a burning cross, which really forces you to think about the time period. It's unbelievable to think that as recently as the 1980s, racial tension was still so pronounced in the deep south, but then again, has it ever really gone away?

Take Another Little Piece of My Heart Now Janis

"People like their blues singers miserable...and dead," or at least that's what Mary Bridget Davies tells us as Janis Joplin. I'm not old enough to have experienced Joplin in her heyday, but I feel like I caught a glimpse of her world last Tuesday night at A Night with Janis Joplin at the Lyceum Theatre on Broadway. I have to say that those who were of her generation got the most out of the show, particularly (hey girl hey) the woman three rows ahead of me in the mezzanine who couldn't stop dancing in her seat.

Structurally, the show is bizarre. Janis (Mary Bridget Davis) sits down in her Texas-sized chair with a bottle of SoCo, tells a story about her past, and then segues into a song. The odd part is that sometimes she sings her own songs and sometimes she relives one of her idols singing their songs. Hearing the music of Nina Simone and Aretha Franklin to name a few was a pleasant surprise for me. We see two very distinct Janises. We have Janis the electrifying performer, and Janis the reflective thinker who, on the surface, seems like your quirky best friend. I take issue with the fact that Randy Johnson's book makes Janis appear so calm and calculated, nothing like the woman who died much too young of a drug overdose.

Aside from the nonsensical book, this show really is enjoyable. Okay, so it's probably more Vegas than Broadway and the sets and costumes were all borrowed from a regional production of Hair, but I was entertained and so was the rest of the very full house. Mary Bridget Davies is a revelation as Janis Joplin. She has all of her tendencies and inflections down pat, and girlfriend just plain sings her face off. Her Cry Baby and Stay With Me are religious experiences, though I question how she can maintain that level of vocal performance deep into the run. I certainly wouldn't want to see an understudy when I just saw the reincarnation of Janis Joplin herself.

A Night With Janis Joplin
Starring Mary Bridget Davies
Lyceum Theatre
149 West 45th Street
Writer/Dirctor: Randy Johnson
Choreographer: Patricia Wilcox
Scenic & Lighting Design: Justin Townsend
Costume Design: Amy Clark
Sound Design: Carl Casella
Production Design: Darrel Maloney