Nancy Grossman

Nancy Grossman

From producing and starring in family holiday pageants as a child, to avid member of Broadway Across America and Show of the Month Club, Nancy has cultivated her love of the art and respect for the craft of theatre. She fulfilled a dream when she became an adult-onset tap dancer in the early 90's ("Gotta dance!"); she fulfills another by providing reviews for BroadwayWorld.com. Nancy is a member of the Boston Theater Critics Association, the organization which bestows the annual Elliot Norton Awards which honor the outstanding achievements of the Boston theater community, and she formerly served on the Executive Board of the Independent Reviewers of New England (IRNE). Nancy is an alumna of Syracuse University, has a graduate degree from Boston University, and is a retired Probation Officer-in-Charge in the Massachusetts Trial Court system.
 




MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review: Moonbox Productions' PARADE: Attention Must Be PaidBWW Review: Moonbox Productions' PARADE; Attention Must Be Paid
Posted: Dec. 16, 2019


BWW Review: New Rep's OLIVER!: Singing and Dancing Orphans, But No DogBWW Review: New Rep's OLIVER!: Singing and Dancing Orphans, But No Dog
Posted: Dec. 17, 2019


BWW Review: THE CHRISTMAS REVELS: A Long Tradition of Community Forged Through MusicBWW Review: THE CHRISTMAS REVELS: A Long Tradition of Community Forged Through Music
Posted: Dec. 19, 2019


BWW Review: MAYTAG VIRGIN: Folding Laundry, Mending Hearts at Merrimack RepBWW Review: MAYTAG VIRGIN; Folding Laundry, Mending Hearts at Merrimack Rep
Posted: Jan. 14, 2020


LAST 365 DAYS

BWW Review: DOLLY PARTON'S SMOKY MOUNTAIN CHRISTMAS CAROL: Bah, Humbug!BWW Review: DOLLY PARTON'S SMOKY MOUNTAIN CHRISTMAS CAROL: Bah, Humbug!
Posted: Dec. 6, 2019


BWW Review: CHRISTMAS ON URANUS: Gold Dust Orphans Launch Laughs In SpaceBWW Review: CHRISTMAS ON URANUS: Gold Dust Orphans Launch Laughs In Space
Posted: Dec. 9, 2019


BWW Review: THE ROCKY HORROR SHOW: Moonbox Productions Brings It Back to Harvard SquareBWW Review: THE ROCKY HORROR SHOW: Moonbox Productions Brings It Back to Harvard Square
Posted: Oct. 21, 2019


BWW Review: 42ND STREET: Thunderous Opening For The Umbrella Stage CompanyBWW Review: 42ND STREET: Thunderous Opening For The Umbrella Stage Company
Posted: Oct. 2, 2019


BWW Review: Moonbox Productions' PARADE: Attention Must Be PaidBWW Review: Moonbox Productions' PARADE; Attention Must Be Paid
Posted: Dec. 16, 2019


BWW Review: MOBY DICK: The One That Got AwayBWW Review: MOBY DICK: The One That Got Away
Posted: Dec. 14, 2019


BWW Review: World Premiere THE HAUNTED LIFE: Kerouac's Back in LowellBWW Review: World Premiere THE HAUNTED LIFE: Kerouac's Back in Lowell
Posted: Mar. 30, 2019


BWW Review: THE ROCKY HORROR SHOW: Moonbox Productions Brings It Back to Harvard Square
October 21, 2019

THE ROCKY HORROR PICTURE SHOW was a staple of the Harvard Square entertainment scene from 1984 through 2012, enjoying an astounding 28-year run of Saturday midnight screenings at the late AMC Loews Theater. Just around the corner, Moonbox Productions returns to its Cambridge roots and blasts into its tenth season with THE ROCKY HORROR SHOW, the live musical version at a pop-up venue at 25 Brattle Street. The venue, a once and future retail site, has a strangely appropriate ambience, an air of temporariness that is in sync with the secret of the creepy country estate where the story takes place. The cast is loaded with triple threats who can sing, dance, and act, but the number one reason to see the show is Peter Mill's performance as Frank N. Furter

BWW Review: THE SPONGEBOB MUSICAL: A Sunny Outlook Under the Sea
October 18, 2019

The National (non-equity) Tour of THE SPONGEBOB MUSICAL settled in at the Boch Center's Wang Theatre this week and brought out families and children raised on the beloved Nickelodeon series. Joining a long list of animated shows adapted into Broadway musicals, this one is set apart by the clever collaboration with a wide variety of popular artists who composed individual songs, seamlessly curated, orchestrated, and arranged by Pulitzer Prize and Tony Award-winner Tom Kitt (of Next to Normal). Based on the television series by Stephen Hillenburg, it was conceived and directed by Tina Landau and features a book by Kyle Jarrow, but the eclectic score is the crème de la crème of THE SPONGEBOB MUSICAL.

BWW Review: New England Premiere of TRAYF: You Don't Have To Be Jewish
October 16, 2019

Playwright Lindsay Joelle introduces us to the unique world of the Rebbe's loyal foot soldiers who travel around Manhattan in a Mitzvah Tank, performing good deeds and spreading the gospel of the Chabad-Lubavitch to non-observant and alienated Jews. In its New England premiere at New Repertory Theatre, under the direction of Celine Rosenthal, TRAYF focuses on the relationship between best friends Zalmy and Shmuel as they explore the boundaries of their faith and friendship.

BWW Review: 42ND STREET: Thunderous Opening For The Umbrella Stage Company
October 2, 2019

The red velvet curtain rises on about a dozen pairs of feet tapping up a storm, but there are a few hundred more dancing their way out of the Umbrella Community Arts Center after they pay a visit to 42ND STREET, the blockbuster grand opening production of the Umbrella Stage Company, Greater Boston's newest professional theater in Concord. The 344-seat, state-of-the-art main stage is airy and comfortable, with a generous rake to provide unobstructed viewing from every row. Kicking off the season with the quintessential backstage musical is a stroke of genius that celebrates the performing arts and generates excitement for the Umbrella.

BWW Review: SUNSET BOULEVARD: Alice Ripley Puts Her Stamp on Norma Desmond
September 30, 2019

In the annals of musical theater, Norma Desmond is one of those larger than life characters, like Mame Dennis, Dolly Levi, and Eva Peron, who cries out for an actor with a specific and rare combination of skills to play the role. Tony Award-winner Alice Ripley ascends to playing the faded silent-screen star in the North Shore Music Theatre production of SUNSET BOULEVARD, after originating the role of Betty Schaefer in the 1994 original Broadway cast which starred Glenn Close. In so doing, Ripley joins the pantheon of singular talents who have put their personal stamp on the musical iteration of Norma, stepping out of the shadow of the indelible mark Gloria Swanson made on celluloid in Billy Wilder's 1950 film.

BWW Review: TINY BEAUTIFUL THINGS: 'Dear Sugar' Dispenses Joy at MRT
September 17, 2019

TINY BEAUTIFUL THINGS is a play that will make you laugh, tug at your heartstrings, teach you to appreciate little things while not sweating the small stuff, and, ultimately, make you glad you decided to spend 85 minutes at the theater. The season-opener at Merrimack Repertory Theatre is based on the memoir by Cheryl Strayed, a?oeTiny Beautiful Things: Advice on Love and Life from Dear Sugar,a?? and adapted for the stage by Nia Vardalos (My Big Fat Greek Wedding). Living up to their newly-minted mission statement at the starting gate, Merrimack a?oebring(s) joy to our art forma?? with the dramatization of real letters submitted to Strayed's advice column and her empathetic, down-to-earth responses.

BWW Review: THE AMERICA PLAYS: World Premiere at Mount Auburn Cemetery
September 15, 2019

Playwright Patrick Gabridge, the 2018-2019 Mount Auburn Cemetery Artist-In-Residence, is presenting THE AMERICA PLAYS, the second series of site-specific plays, following THE NATURE PLAYS produced in June. Whereas the earlier work explored the richness of the natural environment at the Cemetery, this series of five short plays brings to life the founder, sculptors, strong women of the era, and a compelling immigrant story about some of Mount Auburn's Armenian denizens. Guiding the audience from site to site through the lush grounds enhances their connection to the elements of the stories being told and grounds the drama in the flora and fauna of the landscaped jewel.

BWW Review: LAST NIGHT AT BOWL-MOR LANES: Carroll and Plum Play Out the String
September 9, 2019

LAST NIGHT AT BOWL-MOR LANES is a nostalgia piece in more ways than one. Now having its world premiere to open Greater Boston Stage Company in Stoneham's 20th season, the play by Producing Artistic Director Weylin Symes imparts a feeling of community, close friendships, and enjoyment of simple pursuits that is rapidly receding in our techno-centric world. Set in a bowling alley on the brink of becoming a Walmart, it challenges us to find ways to stay connected to the people and places that matter most, even as the wrecking ball of progress swings wildly around us.

BWW Review: LITTLE SHOP OF HORRORS: This Plant's No Shrinking Violet
September 5, 2019

Rachel Bertone has set the bar high for the 45th anniversary season of the Lyric Stage Company with her pitch perfect production of LITTLE SHOP OF HORRORS. Assuming the mantle of both director and choreographer, with the dependable Dan Rodriguez as music director by her side, Bertone and her design team capture the grit and the innocence of the story set in the early 1960s, while finding ways to punctuate it with flashes of contemporary pizzazz. Puppet designer Cameron McEachern has crafted an Audrey II without gender bias on its menu, and despite being voiced by a woman (Yewande Odetoyinbo), the plant is no shrinking violet.

BWW Review: THE LIFESPAN OF A FACT: Regional Premiere at Gloucester Stage Company
September 2, 2019

Gloucester Stage Company is the first theater in the country to produce THE LIFESPAN OF A FACT following its SRO limited run on Broadway. Based on the 2012 essay/book co-written by John D'Agata and Jim Fingal, the play explores the conflict between an unorthodox author (D'Agata) and the young fact-checker (Fingal) assigned by his magazine editor to vet a groundbreaking piece about a teen's suicide in Las Vegas. GSC mounts its production with local luminary and Academy Award nominee Lindsay Crouse, New York and Off-Broadway actor Mickey Solis, and recent Harvard University graduate Derek Speedy, making his Gloucester debut, under the direction of the estimable Sam Weisman.

BWW Review: LA CAGE AUX FOLLES: The Best of Times at Reagle Music Theatre of Greater Boston
August 12, 2019

In the summer of 1983, Jerry Herman and Harvey Fierstein put on a show that was light years ahead of the zeitgeist, vis-a-vis the awareness and acceptance of LGBTQ people in America, and about twenty years before the legalization of same-sex marriage. Yet, after a successful tryout at the Colonial Theatre in Boston, they boldly went where no Broadway musical had gone before when they opened LA CAGE AUX FOLLES at the Palace Theatre on August 21, 1983. Reagle Music Theatre of Greater Boston concludes its 51st Summer Season with LA CAGE, and I am pleased to report that the show continues to stand the test of time. The three most important components for a successful staging of this musical are the two actors who play the leading men, Georges (J.T. Turner) and Albin (James Darrah), and the dance troupe who comprise Les Cagelles, the drag performers at the Saint-Tropez title nightclub owned by the latter couple, and they collectively win the trifecta.

BWW Review: BEN BUTLER: Gloucester General's Pivotal Role in the Civil War
August 7, 2019

Gloucester Stage Company presents the Boston area premiere of Richard Strand's BEN BUTLER, a Union army general who was a settler of Gloucester's Bayview neighborhood, a presidential candidate, and the 33rd Governor of Massachusetts. Those achievements came after he retired from the military, where he forged a reputation as a champion of the causes of labor, abolition of slavery, and naturalized citizens. In the play, set in the middle of the Civil War in 1861, Butler faces a moral dilemma, forced to choose between adhering strictly to the law or daring to make a bold move that holds the promise of changing history.

BWW Review: PARAGON PARK: THE MUSICAL: One Last Ride on the Carousel
July 30, 2019

With book by Zoe Bradford and Michael Hammond, and music and lyrics by Adam Brooks, PARAGON PARK: THE MUSICAL is a lovingly-crafted reflection of a moment in time that spans eight decades. There's more than enough small town politics, quirky characters, and human interest in the overstuffed book, but the music soars on the voices of an uber-talented ensemble and a 15-piece orchestra conducted by Musical Director Steve Bass.

BWW Review: THE 39 STEPS: Playing Hitchcock For Laughs
July 15, 2019

If there's one thing that summer theater should be, it's fun, and Gloucester Stage Company's production of THE 39 STEPS happily fulfills the requirement. Actually, it is more than fun - it is laugh out loud funny, thanks to the witty script, the crisp direction by Artistic Director Robert Walsh, and the antics and split-second comic timing of a quartet of actors who play over 150 characters without going off the rails. Joining them on stage is Malachi Rosen, a Foley Artist who produces a litany of sound effects, allowing the audience to see and hear how every door slam, train whistle, and gun shot happens. The 1935 film was a classic Alfred Hitchcock thriller, but the stage adaptation by Patrick Barlow heaps large helpings of farce and satire atop the story, while maintaining a high level of suspense.

BWW Review: The Seth Rudetsky Series: Jessie Mueller Stars as Herself
July 9, 2019

On Monday night, the Emerson Colonial Theatre presented THE SETH RUDESTSKY SERIES STARRING JESSIE MUELLER, the first of three concerts with Cheyenne Jackson (October 4) and Kelli O'Hara (January 9) to follow. The host of Sirius SM's On Broadway channel, Rudetsky is a pianist, a music director, and possesses a vast knowledge of musical theater. In this series, a combination of conversation and musical performances, Rudetsky moves seamlessly between his dual roles as onstage accompanist and interviewer, starting out on the piano bench and ambling over to a quasi-living room ('we have a carpet') with a pair of comfy armchairs. Singing a broad range of selections, both Broadway and pop, Mueller proves herself to be a vocal chameleon, and presents as warm, genuine, and occasionally self-deprecating during the interview portions of the show.

BWW Review: TEA AT FIVE: Light Repast
July 2, 2019

Playwright Matthew Lombardo revisits his 2002 play as a one-act solo vehicle for Faye Dunaway, now receiving a pre-Broadway premiere at the Huntington Avenue Theatre in Boston. Attractive design elements evoke the Old Saybrook, Connecticut world of Katharine Hepburn, but neither the script nor the star can conjure her spirit and engage us in the story.

BWW Review: 42ND STREET at Ogunquit Playhouse: That's a WOW!
June 30, 2019

There's an unmistakeable sound of thunder emanating from the Ogunquit Playhouse these days, commencing with the rhythmic pounding of nearly two dozen pairs of feet, and ending in a crescendo of audience applause. It is not fulsome praise to give DirectorChoreographer Randy Skinner multiple huzzahs and many pats on the back for this fresh and exciting production of 42ND STREET the iconic show-biz musical about a small town girl who pursues her dream and takes Broadway by storm. From the grownups to the kids in the chorus, Tony Award-nominee Skinner seamlessly blends stage veterans and non-Equity performers into one sparkling, magical troupe that really knows how to put on a show.

BWW Review: Dionne Warwick at the Cabot Theatre: Timeless After All These Years
June 29, 2019

A year shy of its 100th birthday, the Cabot Theatre in Beverly, a North Shore treasure for the performing arts, presented multiple Grammy Award-winning recording artist Dionne Warwick in concert before a sold-out house on Friday night. Now in the sixth decade of her singing career, Warwick and her virtuosic five-piece band played hit after hit after hit, each one of them a reminder to the devoted audience of the breadth of her discography and the reasons for her incredible longevity and staying power.

BWW Review: A Nimble BAREFOOT IN THE PARK at Gloucester Stage Company
June 18, 2019

Gloucester Stage Company opens its 40th Anniversary Season with a nostalgic romp in the park, specifically Neil Simon's 1963 hit play, BAREFOOT IN THE PARK. Pairing McCaela Donovan and Joe Short (who are married in real life) as the young newlyweds moving from their blissful six-day honeymoon into a Manhattan sixth-floor walk up is a stroke of luck for Director Shana Gozansky. Making her GSC debut, she didn't have to worry about establishing trust and comfort in the romantic aspects of the characters' relationship. Not only do Donovan (Corie) and Short (Paul) fit together hand in glove, but Paula Plum and Richard Snee, another offstage married couple, complete the cast and contribute immeasurably to the hilarity.

BWW Review: YERMA: Tragic Tale of a Woman's Obsession
June 14, 2019

YERMA, a play with music, adapted and translated by Melinda Lopez from Spanish poet/playwright Federico Garcia Lorca's 1934 work, is receiving its world premiere by the Huntington Theatre Company at the Calderwood Pavilion at the Boston Center for the Arts. On press night, in the age-old tradition of the show must go on, Lopez was pressed into service to perform in place of the ailing Jacqui Parker, one of the five women who surround the title character as her emotional support community, even as their multiple children are a stinging reminder of her infertility. It is a tragic tale, but one fueled by hope and infused with beautiful flamenco-inspired music and Spanish culture.



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