Carol Rosegg News

The Yale Repertory Theatre presents Danai Gurira's ECLIPSED previews began, October 24th, and the show opened October 29th. The cast features Pascale Armand, Zainab Jah, Adepero Oduye, Stacey Sargeant, and Shona Tucker.

Women's Project is set to resume performances of Liz Duffy's OR, beginning this weekend, November 5th. Performances have been cancelled since last weekend one of the show's actors Andy Paris, who plays multiple roles in this restoration-style, fast-paced comedy, suffered an injury, as previously reported.

There's little drama to be had in first-time playwright George Stevens, Jr's solo play, Thurgood, a textbook review of the career of civil rights attorney and eventual U.S. Supreme Court JustIce Thurgood Marshall. Set at the Howard University Law School Auditorium with The Playgoers serving as the title character's audience, the ninety minute piece offers a chronological telling of his personal history without much happening in the immediate present. It's a bit like watching a historical documentary of a familiar story with none of that great archival footage.

February of 2008 has turned out to be a heck of a terrific month for non-traditional and daring Off-Broadway musicals. (Do we have any more opening by tomorrow night?) Following the exhilarating Next To Normal and the entrancingly Dadaist The Blue Flower we now have Joshua Schmidt (music and libretto) and Jason Loewith's (libretto) haunting chamber piece, Adding Machine, based on Elmer Rice's 1923 Expressionist drama. To call it 'old-fashioned' would be misleading, but one of the pleasures of Adding Machine is that it recalls a time when political and social protest musicals were not uncommon among Gotham's theatrical offerings.

No, that steady rumble you may hear and feel beneath your feet as you walk along 50th Street between 8th and 9th Avenues these evenings is not the A train making its way to Columbus Circle. It's the sound of laughing audiences having a swell time in the underground quintet of auditoriums called New World Stages. The former movie multiplex turned Off-Broadway house seems to be experiencing a happy renaissance, with its long-running anchor production, Altar Boyz, having been joined by laughter-inducing hits like The Toxic Avenger, Naked Boys Singing, My First Time and The Gazillion Bubble Show (which I haven't seen but I'm sure brings out many giggles from the youngsters). The hilarious Love Child, which previously ran at 59E59 will be moving in shortly, but first the welcome mat (and perhaps a red carpet) has been set for the center's new crown jewel as the Tony-winning Avenue Q completes its successful Broadway run and returns to its Off-Broadway roots.

I can't say I've ever really associated important events in my life with what I was wearing. Oh sure, I remember the powder beige tux I wore to my 1977 senior prom (my date picked it out) but since moving to New York I think it's safe to just assume I was wearing black whenever anything significant happened. Not so for the ladies of Love, Loss and What I Wore, a show that my female guest assures me gives an accurate portrayal of how women tend to hold important memories in the stitches of their apparel. And though such sentiments may be foreign to my nature (or perhaps nurture) I found the ninety-minute evening warm, funny (often hilarious), cleverly written and terrifically performed.

There's very little I can recommend from Vigil, Morris Panych's two-person play which I'll assume was meant to be darkly humorous and quirky, but ends up a rather dreary and frequently ugly ninety-five minute affair.

The star of Town Hall's 3rd Annual All Singin', All Dancin', the traditional finale to the Scott Siegel-created Broadway Summer Festival, didn't take the stage until the end of curtain calls, but his vibrant presence was felt throughout the evening.

While the situations presented by playwright Geoffrey Nauffts in his drama Next Fall are certainly realistic, the evening suffers from a steady feeling of contrivance as the storytelling pieces fall too neatly into place and a nagging sense that the playwright has avoided certain obvious issues that would add some needed depth to the piece.

Two possibilities crossed my mind when I counted 85 selections on the song list for For Lovers Only (Love Songs... Nothing But Love Songs); either I was about to see a musical revue of Götterdämmerung-like proportions or there were going to be a lot of medleys.

Don't tell anybody in Topeka, but Sherie Rene Scott is currently in her 27th year of rumspringa. But then, since she's only half Mennonite ('Amish Light' she calls it), I suppose different rules apply.

'Sometimes life just is preposterous, you know,' screams a frustrated character trying to get another to believe his corner of the jigsaw puzzle of interlocking plots in Craig Lucas' eclectically styled comedy/drama, The Singing Forest; a play that takes us from 21st Century New York to 1930s Vienna to 1940s London via urban romantic comedy, Holocaust drama, dysfunctional family angst, mistaken identity farce and a dash of that Lucas theatrical fantasy. Far funnier and more happily enjoyable than you'd expect, especially considering the horrifying imagine the play's title represents, The Singing Forest manages to examine issues of self-deceit and the limits of both forgiveness and accepting blame for one's actions.

'Acting is reacting,' says many a teacher of the craft, and if they're right then Christopher Durang has handed his leading lady, Laura Benanti, a career's worth of reasons to react in his surreal cavalcade, Why Torture Is Wrong And The People Who Love Them. A meta-theatrical farce disguised as a satire of America's war on terrorism (with a brief lesson about taking control of your life and a somewhat romantic conclusion for those who require such things) Why... is top-shelf Durang lunacy and Benanti, making a rare non-musical appearance, proves herself a wonderful everywoman foil.

You know you're in for a good one when there's a huge laugh before the first person on stage can even let out the third syllable of the show. But by the time the actors start growling to customers, 'There's no intermission!' and 'The show's eight hours long!' The Toxic Avenger has firmly established itself as one of the funniest musicals in town.

The opposites attracting plot is probably as old as romantic comedy itself, but even if Rooms: a rock romance follows familiar paths, the Paul Scott Goodman (book/music/lyrics) and Miriam Gordon (book) two-person musical is such a buoyant, funny and upbeat affair that the clichés of the story are conquered by the cleverness and exuberance with which the story is told. Under Scott Schwartz's swift and breezy direction, the 90-minute one-act scoots the audience along on an immensely enjoyable ride.

I don't know how far along set and lighting designer Maruti Evans was with his work for INTAR's double bill of Eduardo Machado's In Paradise and Nick Norman's She Plundered Him when the company lost its home due to the sudden closing of the Zipper Theatre and its season was rescued by the availability of the much smaller studio space at the Cherry Lane Theatre, but I imagine the switch necessitated some drastic changes in his view of the two pieces. In any case, the end result is perhaps the most memorable and effective part of the evening.

'Exciting' is not a word normally associated with productions of Thornton Wilder's Our Town. Heartwarming? Sure. Chilling? When its climax is done well, certainly. But director David Cromer's non-traditional take on the play - which remains completely faithful to the author's text and themes - is one of the most exciting theatre events of the season.

1959 was a heck of a good year for Broadway overtures.  The majestic trumpet fanfare and lowdown bump and grind of Gypsy's is generally regarded as the best in musical theatre, but there was also the rousingly rhythmic curtain-raiser to Fiorello! and, my personal favorite, Philip J. Lang's beautiful interpretation of Bob Merrill's music for Take Me Along, which touches on so many moods of the show while continually building the toe-tapping climax of The catchy title tune.

You would think that Edith Wharton's fizzy little comic novel, The Glimpses Of The Moon, might have been a perfect property for Rodgers & Hart or Kern, Wodehouse & Bolton to musicalize when it was fresh off the presses in 1922.  But no, it took until 2008 for New Yorkers to get a glimpse, not to mention a pleasant earful, of a brand new frothy little musical charmer based on her book, courtesy of a couple of moderns, Tajlei Levis (book and lyrics) and John Mercurio (music).

Women's Project is set to resume performances of Liz Duffy's OR, beginning this weekend, November 5th. Performances have been cancelled since last weekend one of the show's actors Andy Paris, who plays multiple roles in this restoration-style, fast-paced comedy, suffered an injury, as previously reported.