Matt Windman — Theater Critic

It's an evening of ba-dum-bum punchlines in this vein at the Nederlander Theatre, where 'Mr. Saturday Night' marked its official opening Wednesday night. Low-key ballads in classic Broadway cadences by Jason Robert Brown and Amanda Green are interspersed throughout the proceedings, amiably directed by John Rando. But they are not such prominent features as to distract from the main focus, which is the funny business - sometimes tender, other times cruder and more caustic - derived from the notion that Crystal's semiretired Buddy Young Jr. is over the hill.

In spite of inventive touches, satirical humor, fluid production values, and songs full of both spark and sensitivity, 'A Strange Loop' ultimately falls victim to the perils of its own design, becoming so messy, whiny, confrontational, sexually explicit, and theoretical that it will probably turn off many theatergoers while invigorating and thrilling plenty of others.

Truth be told, 'Funny Girl' is a star vehicle that is not much more than the leading role, as demonstrated by its weak and melodramatic book (which has been revised a bit by Harvey Fierstein) and the inferior quality of literally every song that is not sung by Fanny (many of which were cut from the film). Without an extraordinary lead performance, 'Funny Girl' doesn't work - which is unfortunately the case here. Vocally, Feldstein is strained and nasal and unable to handle power solos like 'I'm the Greatest Star,' 'People,' 'Don't Rain on My Parade,' and 'The Music That Makes Me Dance.' She also overplays the comedy and resorts to mugging. (I question how Feldstein could even be cast as Fanny in a high school or theater camp production.)

Now, following another two-year wait, 'Hangmen' is finally opening on Broadway - but without Johnny Flynn, who gave an electrifying, star-making performance as Mooney in the London and Off-Broadway productions. (In 2020, Mooney was played by Dan Stevens of 'Downton Abbey.') Notwithstanding, Allen and the rest of the current cast are great (though Threlfall appeared to be experiencing some vocal difficulties at my performance) and the lively production (directed by Matthew Dunster, with a rich scenic design) finds an ideal balance between roaring entertainment and grim uneasiness.

Brown, who has become the first Black woman to serve as a director-choreographer on Broadway in 65 years, was an ideal choice for helming the revival, infusing it with modern dance and coordinating its visual and lyrical elements into a striking pattern. The seven women (including Amara Granderson, Tendayi Kuumba, Kenita R. Miller, Okwui Okpokwasil'i, Stacey Sergeant, Alexandria Wailes, and D. Woods) handle their solo pieces beautifully while also forming a tightly-knit ensemble.

Brokaw's stripped-down and highly-effective production accentuates the complex relationship between Li'l Bit and Peck, with Parker and Morse (who is impressively understated) giving nothing short of a masterclass in acting.

A lot has changed in the world in the 20 years since the Off-Broadway premiere and subsequent Broadway transfer of 'Take Me Out,' Richard Greenberg's all-male drama about the epic consequences of a Derek Jeter-like professional baseball player coming out as gay. Notwithstanding, 'Take Me Out' remains the same play, somewhat overlong and sensationalistic but absorbing and heartfelt, especially as demonstrated by the excellent Broadway revival produced by Second Stage.

In an ideal world, the original new Broadway musical 'Paradise Square' would live up to its fascinating historical source material: the 19th century Lower Manhattan slum of Five Points, where free Blacks and immigrants lived together up until the Civil War. Although well-meaning and filled with some striking visuals and pointed political commentary, 'Paradise Square' is sappy, overstuffed, overlong, and tiresome. If not much else, 'Paradise Square' might be an ideal show for educators who want to take their students to a Broadway musical about U.S. history but can't score tickets to 'Hamilton.' As a homework assignment, the students can research the numerous historical events that are dutifully mentioned or write an essay about the contemporary political concerns (violent insurrection, cultural misappropriation, class tensions, need for empathy).that the show overemphasizes in trying to prove its relevance.

In the midst of domestic political tensions, overseas conflict, the pandemic, and emotionally-charged cultural debates, 'Plaza Suite' offers sitcom comedy, sharp one-liners, sentimental and nostalgic touches, straightforward direction (by actor John Benjamin Hickey), and performances by two familiar stage and screen stars. It's the equivalent of feel-good comfort food, like grandma's chicken noodle soup - at least until it becomes clear that the production is not as good as it ought to be.

Depending on one's inclination, 'MJ' can be seen as a slick and lively tribute concert (with dancers, back-up singers, Jackson impersonators, and elaborate homage choreography), a by-the-numbers bio-jukebox musical (really not so different from all the others out there), or a defiant public relations effort to rebrand and refocus Jackson's image, reputation, and legacy.

'Skeleton Crew' could have easily ended on a downbeat note. After all, no one is coming to save the factory, and the characters face an uncertain future. But the compassion they share for one another, the sacrifices they make for each other, and the unexpected pride they take in their work, turn 'Skeleton Crew' into a most unlikely feel-good - or rather feel-hopeful - drama

Unfortunately, 'Flying Over Sunset' is an artistic misfire - and a nearly three-hour slog to sit through. The book is devoid of conflict (relying instead of introspection and confession), expository (filling in details about the politics of the period), repetitive (with the second act more or less mirroring the first act), and indulgently weird (including a sequence in which Grant imagines himself as a 'giant penis rocket ship'). The unexpected highlight of the show ends up being a lengthy tap duet between Yazbeck and Atticus Ware (who plays Archie Leach, Grant's younger self).

Unfortunately, 'Flying Over Sunset' is an artistic misfire - and a nearly three-hour slog to sit through. The book is devoid of conflict (relying instead of introspection and confession), expository (filling in details about the politics of the period), repetitive (with the second act more or less mirroring the first act), and indulgently weird (including a sequence in which Grant imagines himself as a 'giant penis rocket ship'). The unexpected highlight of the show ends up being a lengthy tap duet between Yazbeck and Atticus Ware (who plays Archie Leach, Grant's younger self).

The production (which is a bit overlong, at just under three hours) contains superb staging, visual design (including oversized party balloons, an 'Alice in Wonderland' motif, and even a rainfall effect), music direction, and casting - with one notable exception in its leading lady, Tony winner Katrina Lenk ('The Band's Visit'), who is plainly miscast as Bobbie, lacking both the vocal chops and emotional vulnerability for the role.

It works best at its most irreverent, as exemplified by a celebratory disco number led by Brad Oscar (as Daniel's brother Frank, who works as a hair and makeup designer) and J. Harrison Ghee (as Frank's professional and romantic partner Andre). As the two imaine how to turn Daniel into Mrs. Doubtfire, ensemble members make appearances as both glamorous (Donna Summer, Princess Diana, Cher) and unglamorous (Margaret Thatcher, Eleanor Roosevelt, Julie Child) celebs.

Director Kate Whoriskey (who regularly collaborates with Nottage) may have overemphasized the play's broad humor, to the point where it often starts to resemble a sitcom version of 'Top Chef.' But at its best, 'Clyde's' is a relatable, rambunctious, feel-good work that optimistically preaches a path to self-redemption.Director Kate Whoriskey (who regularly collaborates with Nottage) may have overemphasized the play's broad humor, to the point where it often starts to resemble a sitcom version of 'Top Chef.' But at its best, 'Clyde's' is a relatable, rambunctious, feel-good work that optimistically preaches a path to self-redemption.

'Trouble in Mind' is worth seeing, as it speaks directly to current concerns in the theater industry over institutional and unconscious racism, as seen in the depictions of Black characters (which has led to recent revisions in shows such as 'The Book of Mormon' and 'To Kill a Mockingbird') and the handling of disagreements (which has led to the hiring of directors of diversity, equity, and inclusion). 'Trouble in Mind' may have waited 65 years to come to Broadway, but it is remarkably on point and on time.

Contrary to the vicious ridicule it was greeted with on social media, 'Diana' is not a disaster - it's just not very good. If anything, it is an example of what the late composer Mary Rodgers called a 'why musical,' as in a musical that is completely unnecessary. Why did the world need another retelling of the marriage of Diana and Charles, especially after it has been so thoroughly explored in the tabloids and onscreen (i.e. season four of 'The Crown,' 'Spencer' with Kristen Stewart)? You don't even need to watch 'Diana' in person or on Netflix to feel like you've already seen it.

Some of director Michael Longhurst's ideas pay off (displaying the town's statute of a Confederate soldier both before and after it is vandalized, emphasizing the swampy physical environment, a post-climactic rainfall special effect) and others are awkwardly inserted and strained (having many scenes performed on a narrow balcony level, incorporating a turntable). 'Caroline, or Change' ought to be better appreciated today. Not only have people had more time to absorb its score, its plot (which reflects upon systemic and unconscious racism) speaks directly and powerfully to the current cultural moment.

Three and a half hours fly by pretty quickly in 'The Lehman Trilogy,' an unlikely and thoroughly gripping epic drama which explores how Lehman Brothers evolved from a small cotton goods shop run by three German-Jewish immigrants in mid-19th century Montgomery, Alabama into an elite international financial firm that flourished during the 20th century and then perished in 2008 amid the wreckage of the subprime mortgage crisis.

If any one play comes to represent the current Broadway season's remarkable renaissance of new works by Black writers, it will probably be Keenan Scott II's soul-searching, rhythmically-driven, and widely-accessible drama 'Thoughts of a Colored Man,' which was produced in Syracuse and Baltimore prior to the pandemic.

The FBI transcript is choppy, repetitive, and dull. However, 'Is This A Room' (which was conceived and directed by Tina Satter) is primarily concerned with what is not said - theatricalizing the tension, uncertainty, and awkwardness of the interrogation experience through body language. The production also employs hazy lighting, sudden blackouts, overlapping voices, pauses, and a dissonant score and sound design.

The production (staged by Zhailon Levingston, who is now the youngest Black director in Broadway history) relies heavily on mugging from the actors, especially Urie, who does his standard shtick of exaggerated facial expressions and manic reactions. It works best during the funeral sequence, at which point theatergoers are made to feel as if they are part of the church service. At my performance, quite a few people responded to the funeral speeches in a call and response style.

Santiago-Hudson displays remarkable finesse and ease as he switches back and forth between portraying different characters (such as during a confrontation between 'Nanny' and his unstable birth mother) or between direct narration to the audience and extended character monologue.

Notwithstanding the dynamic score, 'Six' is weighed down by a labored book (which is built around a flimsy setup and banal banter), bargain-basement scenic design, and clunky dance choreography. That being said, 'Six,' which was highly anticipated before the shutdown, still has the makings of a solid hit. The history-meets-contemporary pop concept certainly worked out well for a little show called 'Hamilton,' and it is easy to imagine 'Six' appealing to teen girls, history buffs, and many others.