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.
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 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 COLLIDE November 12, 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 Stage November 4, 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 DOORS October 19, 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.