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.
At separate moments early on in Sara Cooper (book/lyrics) and Zach Redler's (music) ambitious and noteworthy The Memory Show, each of the musical's two characters refers to herself as being a funny person while acknowledging that funny people are often the sad ones.
For those who would enjoy David Mamet plays if there wasn't so much cursing and misogyny, I offer Lyle Kessler's very funny, testosterone-laced drama, Orphans.
The only thing that'll keep you from dancing in aisles at The Public Theater's production of the enormously fun and exhilarating new musical, Here Lies Love, is the fact that there are no aisles.
I suppose the problem with being the greatest Broadway comic actor of your generation is that once the label sticks you rarely get the opportunity to prove that you can also turn in great dramatic performances.
Theatre writers who were lured to that other coast by Hollywood greenbacks have been known to express their disillusionment with the film industry via the Broadway stage.
After numerous miscarriages, unsuccessful tries with fertility medications and an arrangement with a pregnant American woman that falls through, white metropolitan couple Annie and Peter (Kerry Butler and Kelly AuCoin) decide to adopt a child from Africa.
In a time when discussions of rape culture and the possibility of the media slanting rape coverage against accusers are controversial subjects in our national conscious, its rather fortunate timing that the highest profile play of the Broadway season involves a New York tabloid reporter whose career
Even if Richard Greenberg's stage adaptation of Truman Capote's Breakfast At Tiffany's doesn't completely seduce Broadway, I have a hunch that shortly after the amateur and regional rights eventually become available, this will be one of the most produced plays in the country.
The shorthand response for why the original production of It's a Bird… It's a Plane… It's Superman only managed to eke out a three and a half month run on Broadway has traditionally been that the show opened during a newspaper strike.
Nearly 40 years ago, producer Norman Lear brought a television program about a black family's life in a Chicago housing project into millions of American homes.