BIRTHDAY CANDLES by Noah Haidle opens on Broadway at Roundabout Theatre Company's American Airlines Theatre. Directed by Vivienne Benesch, previews began March 18 ahead of an April 10 opening. Performances will run through May 29.
As previously announced, Emmy-winning television star Debra Messing (Will & Grace), who was last seen on Broadway in the John Patrick Shanley play Outside Mullingar, will lead the cast as Ernestine Ashworth, who "spends her 17th birthday agonizing over her insignificance in the universe. Soon enough, it's her 18th birthday. Even sooner, her 41st. Her 70th. Her 101st. Five generations, dozens of goldfish, an infinity of dreams, one cake baked over a century."
The Broadway cast will also feature Tony nominee John Earl Jelks as Matt/William, Enrico Colantoni as Kenneth, Crystal Finn as Joan/Alex/Beth, Susannah Flood as Alice/Madeline/Ernie, and Christopher Livingston as Billy/John.
The design team will include Christine Jones (sets), Toni-Leslie James (costumes), Jen Schriever (lights), John Gromada (sound), and Kate Hopgood (original music).
‘Birthday Candles’ Review: Another Year, Another Cake, Another Profundity
Debra Messing expounds on the preciousness of life in a production that aspires to convey eloquent whimsy, but too often feels methodically sentimental.
"Still, judging by the sniffs in the audience by the play's conclusion, it's clear Birthday Candles landed with some. Personally, I was more upset about the cake's fate than Ernestine's."
"Despite whatever missteps, though, Messing and the rest of the cast nicely convey the spectrum of emotions that a life’s sweep encompasses, from happy times to sad (at the reviewed performance, audience sobs and sniffles were as audible as the laughter). Not even a tacked-on final birthday scene that strains credulity can sour the simple, icing-sweet pleasures of Birthday Candles."
"The wonderful new drama “Birthday Candles,” which stars Debra Messing of “Will and Grace” fame, is a perfect example. For 90 minutes at the Roundabout Theatre on Broadway, face masks double as a means by which an emotionally wrought audience can wipe its eyes. No young person could have written this play; the pain and discoveries of the author are all over every beautifully written line."
Wick3 said: "From what I remember she did finish baking the cake. Near the end she took the cake out of the oven and sadly threw it out to the trash can. "
That was THE cake. No frosting. No candles. Plopped from the pan and into the garbage.
"Did you hear the one about the woman who lived a life? She had ups, downs, outlived some around her, was survived by others. In case you forgot the basic trajectory of human existence, a self-satisfied little play called Birthday Candles opened tonight at the American Airlines Theatre. The Broadway debut of playwright Noah Haidle, it has almost nothing to say about the grand existential themes it barks throughout its brisk 90 minutes."
Once again a NYTimes review I agree with in theory but with tasteless execution. What is the point of being so scoldingly negative on everything that opens? Surely to critique theatre you should enjoy some parts of seeing a play.
As the industry struggles, it feels mean-spirited to read review after review that is so dismissive and cruel to the performers onstage, who are putting their health at risk to keep a vital part of the city's economy alive. And this is supposedly the paper of record. What is the point?
MemorableUserName said: "Maya Phillips is mixed (to negative?) in NYT:
‘Birthday Candles’ Review: Another Year, Another Cake, Another Profundity
Debra Messing expounds on the preciousness of life in a production that aspires to convey eloquent whimsy, but too often feels methodically sentimental.
I know not everything gets put on Did They Like It. But, of the stuff on there that Maya Phillips has reviewed post-reopening, the ONLY show she has given a positive review is Lackawanna Blues. At that point, you have to wonder how much she actually enjoys theatre.
MadsonMelo said: "Those reviews are really awful."
It’s hilarious reading how much dissection they’re doing to the play. Many of us on here LOVED it… and for ALL those wrong reasons they’re picking on. It’s a fantastic 90 minute no frills play featuring fantastic actors. The sniffles the critics are making sure to mention validates how involved the audiences are. Yes, it’s a basic premise and a topic heavily covered in so many works but using the concept they used makes it for beautiful theater. Had it been a 3 Act play, I definitely would not have endured it nor would most of the audiences who enjoyed it. 90 minutes with no intermission was like a fabulous light dinner. Left you full enough you didn’t have room for dessert.
Agreed about Maya Phillips. It’s not even that she dislikes things but the tone of her reviews is so dismissive. It seems like she walks in wanting to hate everything.
These reviews are precisely why no one really cares about criticism anymore, certainly not theatre criticism. What is the point in being so obscenely harsh? The Theaterly review in particular, is absolutely ridiculous...to the point where I think they missed the whole point and I genuinely wonder whether the reviewer is capable of finding joy in life. And Maya Phillips...do you like actually enjoy going to the theater? I'm absolutely not convinced.
I personally loved this play and found it deeply moving. It's perhaps the only play from this season I've seen for far where I immediately decided I wanted to go back and see it again. I can understand why it wouldn't be for everyone, but some of these reviews are ridiculous.
‘Birthday Candles’ Review: Debra Messing Stars in a Scrumptious Broadway Production
"The ingredients of this Roundabout Theatre Company production are equally measured. The impressive acting, practical set and tailored direction blend well to tell a story that could easily feel flat and predictable. Vivienne Benesch’s direction readily elevates Haidle’s script, exploring the emotional and unpredictable time-lapse tale of Ernestine’s birthdays over the course of 90 years."
The reviews are bad because the play is bad. It’s great so many of you enjoyed yourselves, and the reviews generally point out that it clearly connected with a large enough portion of the audience that the sobs are audible, but sometimes crappy art makes for good entertainment. Not for everyone, but for some.
The play is a limited engagement and ends May 29, 2022. It’s doing great business based on the advance word-of-mouth (that’s what got me to go see it). Critic’s review will deter the few. Love it or hate it or don’t care, the play will have ended it’s run by the time most start hearing about it in middle America.
InTheBathroom1 said: "Agreed about Maya Phillips. It’s not even that she dislikes things but the tone of her reviews is so dismissive. It seems like she walks in wanting to hate everything."
I’m at the point where if Maya Philips says something about a show, I’m inclined to believe the opposite. She dislikes almost anything with redeeming qualities and then made SHHH at Atlantic—which is one of the most excruciatingly amateurish things I’ve ever had the misfortune of sitting through— a critic’s pick.