ImagiNe You're in Washington DC watching your father receive the National Medal of Arts, but you're more exited about dad's co-honoree, the man who helped turn your life in a direction away from your father, Stephen Sondheim.
'Exciting' is not a word normally associated with productions of Thornton Wilder's Our Town.
I just got back from Avery Fisher Hall, where Frank Rich was partaking in a fireside chat (sans fireside) with Stephen Sondheim.
That is, if I have anything to do with it.
In my 30+ years of Broadway theatergoing there have been a few special moments that I know will stick in my memory forever.
Although no one under 16 is permitted to enter the Duo Theatre for Company XIV's playfully sexy theatre/dance piece, The Judgment of Paris, there's really, as they say in Texas, nothing dirty going on.
You don't need an economic crisis to appreciate some good theatre at less than the price of a top shelf martini but at $15 a pop the Fifth Annual Under The Radar Festival (running through Sunday at various venues, but mostly at The Public Theater) can keep you stimulated all day with an internationa
As Broadway prepares for another mounting of Hair, the theatre community has received the sad news that the innovative director who helped make that musical such a success, Tom O'Horgan, has passed away.
It's such a shame that Second Stage's crackling production of Becky Shaw, Gina Gionfriddo's comedy of ill manners, is scheduled to close on February 1st.
Wipe off the green makeup, bulldoze the castle and get rid of the tap-dancing rats- no, keep the tap-dancing rats - and Shrek, despite its fairy-tale setting and gentle lesson about embracing the qualities that make us different, reveals itself as just a good ol' musical comedy.
Ah, it's that time of year again when, while most theatergoers are assembling their lists of the top (and sometimes bottom) plays and musicals of the year, I prefer to focus on ten memorable moments that perhaps relatively few got to see.
The daffy and delightful Christine Pedi's newest cabaret concoction, the Jolly Holly Christmas Folly is an inviting cocktail mixing old favorites with a few new routines; very merry, raucously funny and abundantly cheery.
Anyone who saw Mary Bond Davis as Broadway's original Motormouth Maybelle in Hairspray, or in her many cabaret and concert performances, knows that woman can sizzle on stage.
I somehow doubt that, despite Broadway's struggles in the current economy, Jeff Marx and Robert Lopez would be so cynical as to use the title of this entry as their new 'For Now' lyric in Avenue Q, but since it's only a matter of weeks before the sharply satirical children's educational musical for
In case this is your first time reading one of my reviews of a Broadway revival of a classic musical, allow me introduce you to my personal prejudice.
While there isn't anything terribly wrong with the new Broadway adaptation of the 1954 movie musical smash, White Christmas, hitting New York after four years of holiday season engagements across the country, there's also quite a bit that isn't especially right about it either.
Eugene O'Neill might not have been the first playwright to have time come to a halt mid-conversation while characters reveal hidden thoughts through internal monologues - a technique I'm sure is familiar to more Americans through Groucho Marx's spoof of his Strange Interlude in the film version of A
Everyone has their own idea of what makes great theatre.
'We love you, Liza!,' a faint, but audible voice yelled from what seemed to be a far corner of the Palace Theatre's mezzanine.
That cultish assemblage that likes to recite my reviews from memory on open mic nights at the Nuyorican Poets Café (it's weird being an icon for the culturally disenfranchised) may notice many similarities between my following scribblings on Lincoln Center Theater's Broadway production of Horton Fo
