Michael Dale

Michael Dale After 20-odd years singing, dancing and acting in dinner theatres, summer stocks and the ever-popular audience participation murder mysteries (try improvising with audiences after they?ve had two hours of open bar), Michael Dale segued his theatrical ambitions into playwriting. The buildings which once housed the 5 Off-Off Broadway plays he penned have all been destroyed or turned into a Starbucks, but his name remains the answer to the trivia question, "Who wrote the official play of Babe Ruth's 100th Birthday?" He served as Artistic Director for The Play's The Thing Theatre Company, helping to bring free live theatre to underserved communities, and dabbled a bit in stage managing and in directing cabaret shows before answering the call (it was an email, actually) to become BroadwayWorld.com's first Chief Theatre Critic. While not attending shows Michael can be seen at Citi Field pleading for the Mets to stop imploding. Likes: Strong book musicals and ambitious new works. Dislikes: Unprepared celebrities making their stage acting debuts by starring on Broadway and weak bullpens.


MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review:  Luis Alfaro's OEDIPUS EL REY Adapts a Classic Text Into a Contemporary CommentaryBWW Review: Luis Alfaro's OEDIPUS EL REY
Posted: Oct. 29, 2017


BWW Review:  Matthew Bourne Brings Screen Dance Classic THE RED SHOES To The StageBWW Review: Matthew Bourne's THE RED SHOES
Posted: Nov. 4, 2017


BWW Review:  Robert Cuccioli and Jill Paice Star in Gerard Alessandrini's ANYTHING CAN HAPPEN IN THE THEATER: THE SONGS OF MAURY YESTONBWW Review: ANYTHING CAN HAPPEN IN THE THEATER
Posted: Oct. 21, 2017


BWW Review:  Julia Cho's Urgent and Sensitive OFFICE HOUR Calls For Compassion To Combat Gun ViolenceBWW Review: Julia Cho's Urgent and Sensitive OFFICE HOUR
Posted: Nov. 9, 2017


LAST 365 DAYS

BWW Review: Peccadillo Revisits George Kelly's 1924 Smash, THE SHOW-OFFBWW Review: Peccadillo Revisits George Kelly's THE SHOW-OFF
Posted: Oct. 10, 2017


BWW Review:  Norm Lewis and Carolee Carmello Make For A Meatier SWEENEY TODDBWW Review: Norm Lewis and Carolee Carmello in SWEENEY TODD
Posted: Jun. 17, 2017


BWW Review: Cirque du Soleil Hatches Up OVOBWW Review: Cirque du Soleil Hatches Up OVO
Posted: Jul. 9, 2017


BWW Review:  Christopher Wheeldon Stages a Thrilling City Center Mounting of Lerner and Loewe's Sumptuous BRIGADOONBWW Review: Christopher Wheeldon Stages a Thrilling City Center Mounting of Lerner and Loewe's Sumptuous BRIGADOON
November 19, 2017

Like the city where it was born and nurtured, the American musical play differs from similar stage entertainments because it was developed by a combination of cultures merging into a unique new art form. It would be difficult to find greater evidence of this fortunate merger than in the musicals of Alan Jay Lerner and Frederick Loewe.

BWW Review: Julie Taymor Directs Revised Version of David Henry Hwang's Tony Winner M. BUTTERFLYBWW Review: Julie Taymor Directs Revised Version of David Henry Hwang's Tony Winner M. BUTTERFLY
November 18, 2017

When David Henry Hwang's 1988 Best Play Tony-winner M. BUTTERFLY, inspired by the romance between French diplomat Bernard Boursicot and Peking opera singer Shi Pei Pu, who the Frenchman didn't know was a) a Communist spy, and b) a man, first played on Broadway, there was a not so small detail that tended to baffle audience members.

BWW Review: Trump Administration Brings Greater Relevance To John Leguizamo's LATIN HISTORY FOR MORONSBWW Review: Trump Administration Brings Greater Relevance To John Leguizamo's LATIN HISTORY FOR MORONS
November 16, 2017

When John Leguizamo's poignant, provocative and, yes, downright hilarious LATIN HISTORY FOR MORONS premiered at The Public Theater in March of this year, a country that was created by white people whose bloodlines go back to immigrants and refugees was, as it still is, debating the new president's policies regarding immigrants and refugees who are predominantly not white.

BWW Review: One Says Consensual, The Other Says Rape in Anna Ziegler's ACTUALLYBWW Review: One Says Consensual, The Other Says Rape in Anna Ziegler's ACTUALLY
November 14, 2017

Sex is sex and rape is rape. That's the cut and dry explanation we often hear nowadays. And while there are obvious instances where any reasonable person would determine that rape has occurred, there are also those instances that straddle the line between one and the other, where human subjectivity determines the label. Where, as demonstrated in Anna Ziegler's absorbing and thought-provoking new drama, ACTUALLY, one partner can be sure the sex was consensual and the other can be sure it was rape.

BWW Review:  Everett Quinton is a Master of The Ridiculous in Charles Ludlam's CONQUEST OF THE UNIVERSE or WHEN QUEENS COLLIDEBWW Review: Everett Quinton is a Master of The Ridiculous in Charles Ludlam's CONQUEST OF THE UNIVERSE or WHEN QUEENS COLLIDE
November 12, 2017

To watch New York stage treasure Everett Quinton engaged in his classic brand of silliness - or, to be more accurate, ridiculousness - is just as fulfilling a cultural experience as watching a great tragedian immersed in a dramatic Shakespearean role.

BWW Review: David Yazbek and Itamar Moses' Captivating THE BAND'S VISIT Moves To BroadwayBWW Review: David Yazbek and Itamar Moses' Captivating THE BAND'S VISIT Moves To Broadway
November 10, 2017

If there were any concerns that David Yazbek and Itamar Moses' exquisitely melodic and introspective musical, THE BAND'S VISIT would have lost any of its understated beauty while moving from the intimate confines of its Off-Broadway home provided by The Atlantic Theater Company to its new Broadway digs at Broadway's Barrymore, have no fear.

BWW Review:  Julia Cho's Urgent and Sensitive OFFICE HOUR Calls For Compassion To Combat Gun ViolenceBWW Review: Julia Cho's Urgent and Sensitive OFFICE HOUR Calls For Compassion To Combat Gun Violence
November 9, 2017

he sudden act of violence that occurs early on in on Julia Cho's urgent and sensitive drama OFFICE HOUR, is certainly not unexpected. The opening scene sets up the audience to be prepared for exactly this kind of thing to happen.

BWW Review:  David Greenspan Flies Solo in Eugene O'Neill's STRANGE INTERLUDEBWW Review: David Greenspan Flies Solo in Eugene O'Neill's STRANGE INTERLUDE
November 9, 2017

To give credit where it's due, Eugene O'Neill's Pulitzer-winning STRANGE INTERLUDE is perhaps the best play imaginable about women's sexuality that could have been written by a 35-year-old American man in 1923.

BWW Review:  Bryce Pinkham and Denee Benton Mix Love and Politics in MasterVoices' OF THEE I SINGBWW Review: Bryce Pinkham and Denee Benton Mix Love and Politics in MasterVoices' OF THEE I SING
November 7, 2017

Back in 1931, when the firm Kaufman, Ryskind, Gershwin & Gershwin had the novel idea to infuse that stodgy old music/theatre entertainment, the Broadway operetta, with the jauntiness of showtune and a chaotic mixture of comedic highbrow and lowbrow to tell the tale of an unqualified, but charismatic American politician who rides a wave of popular support for his questionable platform to the United States presidency, musical comedies typically employed a bit more on-stage and front-of-stage talent than audiences are accustomed to seeing nowadays.

BWW Review:  Matthew Bourne Brings Screen Dance Classic THE RED SHOES To The StageBWW Review: Matthew Bourne Brings Screen Dance Classic THE RED SHOES To The Stage
November 4, 2017

As anyone who has ever seen A CHORUS LINE will tell you, Michael Powell and Emeric Pressberger's screen classic THE RED SHOES has been tantalizing young dancers with dreams of ballet stardom since premiering in 1948.

BWW Review:  Steven Pasquale Deals To Deceive in  Ayad Akhtar's Wall Street Drama, JUNKBWW Review: Steven Pasquale Deals To Deceive in Ayad Akhtar's Wall Street Drama, JUNK
November 3, 2017

To the average working stiffs among us, money is a tangible thing. We can count it by the number of dead presidents in our wallets and the reasonably manageable digits in our modest portfolios. But to the financially elite, figures ranging in billions on top of billions become so impossible to represent as legal tender that they're said to take on an abstract, nearly fictional quality.

BWW Review:  Jason Alexander and Sherie Rene Scott as Would-Be Lovers in John Patrick Shanley's THE PORTUGUESE KIDBWW Review: Jason Alexander and Sherie Rene Scott as Would-Be Lovers in John Patrick Shanley's THE PORTUGUESE KID
October 31, 2017

If the spot-on hilarity of first scene of director/playwright John Patrick Shanley's THE PORTUGUESE KID could be replicated for the play's remaining three-quarters, this review would be happily exclaiming that New York has got a solid, old-school sexy romantic comedy in town.

BWW Review:  Luis Alfaro's OEDIPUS EL REY Adapts a Classic Text Into a Contemporary CommentaryBWW Review: Luis Alfaro's OEDIPUS EL REY Adapts a Classic Text Into a Contemporary Commentary
October 29, 2017

When Sophocles' OEDIPUS REX was first performed over 400 years B.C., the Greek chorus that opened the play wore the traditional identical masks. But in Luis Alfaro's contemporary adaptation, OEDIPUS EL REY, the unifying costume piece for the Latino men who make up the choro is the orange jumpsuits worn by inmates of the California State Prison in Delano.

BWW Review:  Cristin Milioti Makes An Unusual Emotional Connection in Zoe Kazan's AFTER THE BLASTBWW Review: Cristin Milioti Makes An Unusual Emotional Connection in Zoe Kazan's AFTER THE BLAST
October 26, 2017

As societies in post-apocalyptic stories go, the one envisioned by playwright Zoe Kazan in her insightful relationship drama AFTER THE BLAST, seems to have it pretty good.

BWW Review:  Audra McDonald, Martha Plimpton Sizzle in Film Adaptation of Michael John LaChiusa's HELLO AGAINBWW Review: Audra McDonald, Martha Plimpton Sizzle in Film Adaptation of Michael John LaChiusa's HELLO AGAIN
November 1, 2017

Date movie would be too tepid a phrase to describe director Tom Gustafson's sizzling film adaptation of Michael John LaChiusa's tensely erotic 1993 musical drama, HELLO AGAIN. The term foreplay flick comes to mind.

BWW Review:  Stephen Adly Guirgis' JESUS HOPPED THE 'A' TRAIN Gains New Relevance In The Era of Alternative FactsBWW Review: Stephen Adly Guirgis' JESUS HOPPED THE 'A' TRAIN Gains New Relevance In The Era of Alternative Facts
October 24, 2017

The term 'alternative facts' wasn't part of the popular lexicon when Stephen Adly Guirgis' superb drama of public morality and personal convictions, JESUS HOPPED THE 'A' TRAIN premiered in 2000, but a major point of play is how, in our legal system, a lie can be regarded as truth when believed from a different angle.

BWW Review:  Robert Cuccioli and Jill Paice Star in Gerard Alessandrini's ANYTHING CAN HAPPEN IN THE THEATER: THE SONGS OF MAURY YESTONBWW Review: Robert Cuccioli and Jill Paice Star in Gerard Alessandrini's ANYTHING CAN HAPPEN IN THE THEATER: THE SONGS OF MAURY YESTON
October 21, 2017

It was thirty-five years ago when FORBIDDEN BROADWAY's genius creator/lyricist Gerard Alessandrini first collaborated, so to speak, with Tony-winning composer/lyricist Maury Yeston. That's when he spoofed New York theatre's then obsession with religion-themed played by twisting the lyric of NINE's Be Italian to Be a Catholic.

BWW Review:   Michael Urie and Mercedes Ruehl Sing Out Triumphantly in Harvey Fierstein's TORCH SONGBWW Review: Michael Urie and Mercedes Ruehl Sing Out Triumphantly in Harvey Fierstein's TORCH SONG
October 20, 2017

'We opened for an eight-week limited engagement and could not give a ticket away for three weeks.' That's how Harvey Fierstein described the giant leap of faith that, in 1981, brought a trio of his one-act plays that had each premiered separately on East 4th Street at the basement of Ellen Stewart's La MaMa, E.T.C., to an Off-Off-Broadway mounting on West 62nd Street, produced by John Glines' non-profit company, The Glines.

BWW Review:  Pussy Riot's Maria Alyokhina Joins Belarus Free Theatre in Protest Drama BURNING DOORSBWW Review: Pussy Riot's Maria Alyokhina Joins Belarus Free Theatre in Protest Drama BURNING DOORS
October 19, 2017

When their current engagement at La MaMa Experimental Theatre Club concludes this weekend, members of the Belarus Free Theatre will return to their homeland, where they and their audience members can be arrested by the Belarussian K.G.B. for creating and attending a play.

BWW Review:  Diana Oh's {MY LINGERIE PLAY}, Glitter, Soap Bubbles, Anger, Art and ActivismBWW Review: Diana Oh's {MY LINGERIE PLAY}, Glitter, Soap Bubbles, Anger, Art and Activism
October 18, 2017

To describe Diana Oh's newest performance art installation as the pep rally that precedes the dismantling of the patriarchy is by no means a knock on her vibrantly raucous mixture of glitter, soap bubbles, anger, art and activism. It's just that, unlike many of her previous ventures, she's unlikely to encounter negative audience vibes, or actual physical harassment, in the defiantly progressive confines of the Rattlestick Playwrights Theater.



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