After his Broadway debut shut down after four performances, All My Sons was the play that put Arthur Miller on map; running for a good nine months, winning the 1947 Tony Award for Best Play and bringing the author to the attention of Senator Joseph McCarthy and the House Un-American Activities Commi
First things first; there is no hot air ballooning in Mark Brown's stage adaptation of Jules Verne's Around The World In 80 Days, just in case your only familiarity with the plot comes from Michael Todd's not exactly faithful 1956 movie version.
While the rest of the country celebrates Independence Day with barbeques and fireworks, musical theatre lovers like me will gather around their television sets for the traditional viewing of what I and many others call the finest film ever made from a Broadway musical, 1776.
There's a moment in Show Boat where a woman sings that her true love, 'just plain Bill,' is 'an ordinary man' who 'isn't half as handsome as dozens of men' and is, on the whole, kinda stupid.
Though Ervin Drake's 'The Friendliest Thing (Two People Can Do),' from his 1964 hit What Makes Sammy Run?, has been called the first song from a Broadway musical to be directly about having sex, Suzanne Carrico employs no vampy winks or purring vocals as she observes with heightened intellectual int
Set designer Derek McLane exercises no subtlety in immediately establishing the mood for Roberto Aguirre-Sacasa's drama Good Boys and True.
Maybe I've been watching too many Sex & The City re-runs but once or twice during Manhattan Theatre Club's terrifically acted revival of Caryl Churchill's 1982 drama of gender politics, Top Girls, I couldn't help wondering how its famous first act might work if the cast included Sarah Jessica Parker
Spotted at Cafe Edison: Hillary Clinton and Cubby Bernstein in serious conversation huddled over bowls of motzah ball soup.
I mean it with the most sincere amount of respect and admiration for both gentlemen when I write that Peter Gallagher seems to have morphed into Jerry Orbach.
Check your good taste at the door and have a blast at Cry-Baby, the deliriously warped new musical comedy based on the John Waters flick spoofing the culture clash between squares and juvies in 1950s Baltimore.
Though Julie Wilson was certainly not the first and by all means not the last great singer to have her heart stomped upon by Kurt Weill and Bertolt Brecht's 'Surabaya Johnny,' there is no one I can name more deserving to claim it as their signature song.
There were actually those who thought Cole Porter, Broadway's fountain of divine wit and sophistication, had run dry by that winter of 1948.
With all due respect to Kelli O'Hara, Paulo Szot, director Bartlett Sher and even Richard Rodgers, Oscar Hammerstein II and Joshua Logan, the real star of the Lincoln Center revival of South Pacific is orchestrator Robert Russell Bennett, whose sublime work from the original 1949 production is now e
Oh sure, it's still the most breathtaking, emotionally packed evening of damn near perfect musical theatre in town (No, make that of theatre in town.
You'll please forgive me if I've run out of superlative adjectives with which to describe the work of Marilyn Maye, who, after a 15-year absence from New York's cabaret scene, just opened her 4th Metropolitan Room show in a baker's dozen months.
Several years before Urinetown's Mark Hollmann began writing satirical songs about the public's right to pee he teamed up with playwright Jennifer Fell Hayes to pen a delightful musical for young audiences about one of New York's lesser known cultural landmarks.
I suppose the main difference between a violent protest and an act of terrorism is whether you're on the side of the person who set off the bomb or the person who was killed by it.
That happy gentleman on the left is the legendary American playwright Robert Patrick, and what he has in his hands is a long-time dream of his; a plaque to commemorate the life of Joe Cino.
When last we left The Mint Theater, that extraordinary collective of theatre archivists that specialize in mounting first-class Off-Broadway productions of time-obscured plays by still-famous names, they were teaching many New Yorkers that Leo Tolstoy took a crack at playwrighting once with his grim
With three different directors placing their marks on the material during its pre-Broadway tryouts and two actors who were not quite up to the vocal demands of the dramatic score playing the leads (Shirley Booth and Melvyn Douglas), Marc Blitzstein (music and lyrics) and Joseph Stein's (book) Juno,
