Michael Sommers

A smart, supple score by Tim Minchin swiftly propels the rather sinister tale with a variety of tunes and spirited rhythms...A jubilant 'When I Grow Up' playground number during which the kids swing out over the footlights, and Matilda's lovely, reflective 'Quiet' solo sweeten a score that more often than not sounds spooky...Even more troubling, and faithful as the musical's makers may be to the contents and tone of Dahl's original, the fanciful show possesses an oddly nasty flavor that other people might savor in recollection of their miserable childhoods...Regardless of my taste for the material, director Matthew Warchus' production of the musical certainly is impressive.

Nicholas Martin’s direction has tuned his expert ensemble to a perfect acting pitch at the Golden, where designer David Korins’ handsome fieldstone-and-timber country house setting is accented by Justin Townsend’s sun-dappled lighting. A classy show in every way, this admirable play and its fine production are certain to be contenders for all sorts of awards at the end of the current Broadway season.

New to the role of a disillusioned Macy’s employee who brightens up in Buddy’s presence, Leslie Kritzer delivers the funny “Never Fall in Love (With an Elf”) with wry pizzazz. Other high points in the musical include “Nobody Cares About Santa,” a jazzy, foot-stomping lament for Buddy and crew of disgruntled out of work department store Saint Nicks; “There is a Santa Claus,” a joyous realization of the holiday spirit exuberantly voiced by Leavel with youngster Mitchell Sink; and “The Story of Buddy the Elf,” a punchy number with a catchy chorus that, as performed by most of the company, nearly brings down the house. Rolling along agreeably for its earlier stretches, the musical really takes off in the second act.

Harder heads than mine may find “Harvey” to be a trifle sappy in sentiment, but I find it endearing, especially when the comedy is served so well by Ellis and his excellent actors. Never intimating that his character is a lush, Parsons lends the gentlemanly Elwood a calm and slightly dreamy manner that contrasts against the other characters, who more or less are driven into a frenzy by his chum Harvey’s unseen presence. Parsons’ open, friendly countenance and genial nature as Elwood are unassuming yet sufficiently engaging to provide the production with its glowing focal point.

Observantly dressed by designer Ilona Somogyi, a well-meshed ensemble of seven excellent actors confidently invests their characters of 1959 and 2009 with distinctive personalities under director Pam MacKinnon’s discerning guidance. Designer Daniel Ostling provides a realistic setting that poignantly suffers the passing years. A smartly-written play sure to provoke conversation afterwards, “Clybourne Park” may be too emotionally cool to please sentimental viewers, but many others are sure to enjoy the nasty conflicts that erupt when presumably nice people show their true colors.

Led by the roly-poly and irresistibly droll Corden – an ebullient performer clad in mismatched checks as the modern-day Harlequin figure –a skilled 16-member ensemble whips through a wacky progression of pratfalls, slapstick nonsense, cheeky doings and assorted other low-comedy capers. It’s all too ridiculous for words so let’s take a pass on detailing the madness that erupts constantly for more than two hours.

Pirates, orphans, natives, mermaids and a gigantic crocodile romp through a two-act tale bursting with dastardly doings, epic chases, daring escapes and silly humor. Co-directed by Roger Rees and Alex Timbers, the off-Broadway production offered delightful entertainment. Some of that charm is missing, unfortunately, from the Broadway version of the show, which opened on Sunday at the Brooks Atkinson Theatre.

Playwright Eric Simonson, who did so ably by a football legend with “Lombardi,” now gives sports- and theater-loving customers alike an enjoyable mix of strong story, smart writing and real-life video that zooms by in 100 minutes. Director Thomas Kail’s staging provides plenty of punch, complete with fine acting and sharp visuals.

It’s trash. Judy swills, Judy sings, Judy vomits, Judy goes on singing. Pulp rubbish by playwright Peter Quilter. [...] In her wilder throes as Garland flailing through a number, Bennett gets awfully Kabuki about it, but you can’t deny her power even if she’s driving a third-rate hearse of a play.

Bowing on Thursday for a brief sojourn at the Music Box, the actor’s solo show provides a pleasant 100-minute stroll down memory lane in this strictly fans-only attraction. ... It’s not much of a solo Broadway show compared to more ambitious events like Billy Crystal’s “700 Sundays” or Elaine Stritch’s “At Liberty,” but “Shatner’s World” will satisfy customers simply pleased to observe Shatner being Shatner in the flesh.

Certainly the show is a must-see due to Audra McDonald’s beautifully sung and fiercely acted portrayal of Bess. Sporting a scar on her cheek, fire in her eyes and plenty of star power, McDonald fleshes out a believably human portrait of a flawed, fallen woman struggling to get back on her feet. Extra thrills that McDonald delivers include her spooky rendition of “Leaving for the Promised Land” and a deeply-felt “I Loves You, Porgy.”

The show occasionally jolts but it generally fails to electrify viewers or inspire much pity for its hard-luck protagonists. Perhaps a full-blown operatic treatment is the only way to illuminate a story as dark as this one.

Opening with 'Oh, What a Beautiful Morning,' Jackman expertly cavorts through several tuneful medleys, most notably a high-kicking salute to classic movie musicals. A freely-interpreted 'Somewhere Over the Rainbow' and a resonant journey through Billy Bigelow's 'Soliloquy' from 'Carousel' are other standouts, while a segment involving the Australian outback and its native musicians offers a soulful change in mood.

John Turturro staged the plays. Because the material is so poor it’s impossible to assess his work. Three-time Tony-winning designer Santo Loquasto provides a trio of homely settings. Since each play involves unattractive characters being unpleasant, these environs prove to be relatively appropriate.

Evidently “The Mountaintop” was taken very seriously last year in London, where it won an Olivier Award. Frankly, I think the play is well-meaning rubbish that trivializes an extraordinary man.

Sure, Roundabout Theatre Company's 'Man and Boy' revival may be dismissed as merely so much cheese and ham by some viewers, but I find it yummy. Anyone with a taste for old-fashioned Broadway theatrics richly furnished will enjoy the production that opened Sunday at American Airlines Theatre.

Watching this elaborate if numbing attraction at the Foxwoods, theatergoers with long memories may recall the Andrew Lloyd Webber musical “Starlight Express,” which opened in 1987 and was the most expensive-ever show of its day. Costing a cool $8 million, the musical involved roller-skating performers impersonating trains running on tracks laid around the auditorium, lasted 700-odd performances and never paid off its investment both commercially and as satisfying theater for adults. While there is certainly a significant audience for junk food-style entertainment on Broadway, I wonder whether the million empty calories represented by “Spider-Man: Turn Off the Dark” will be tasty enough to attract sufficient customers for a very long time.

Meanwhile, those vintage song hits just keep on coming and Baby Boomers who are pushovers for nostalgic entertainment may well be diverted by “Baby, It’s You!,” which is synthetic in composition but thoroughly expert in delivery.

Directed by George C. Wolfe and Joel Grey (who took over the role of Ned from Brad Davis during the original run), the production clearly is a labor of love. Under their guidance, the company’s acting is bold and powerful, with a genuinely raw edge to its emotions that rubs the starch out of the play’s overtly socio-political contents. The look is appropriately stark, with a white box of a set subtly designed by David Rockwell that gradually grows darker with the play’s mounting toll of mortality.

Newcomers to “The House of Blue Leaves” are unlikely to see beyond Cromer’s misguided staging to appreciate the play itself while people who know and love it are advised to skip this unworthy occasion.

Cynics may feel they're watching an animated civics lesson, but the play's plentiful humor drowns their doubts in laughter. Kanin’s potent mix of mirth and truth is expertly served by Frank Wood as the glib, self-hating attorney, Terry Beaver as the uneasy Senator up for sale and Patricia Hodges as a sporty Congressional matron. Never removing his fedora in the 'cherce' role of the junkman's cousin and slavey, Michael McGrath lopes around like a guy out of Damon Runyon.

An award-winning hit in London, “Jerusalem” is very, very, very English in its cultural references and significance. As the play wends its garrulous way towards a baleful conclusion, some American viewers may wonder why they should care about Johnny, a messy wastrel who idly corrupts adolescents. But that would be missing the higher pretensions of Butterworth’s drama and certainly not appreciating Rylance’s deeply-immersed depiction of Johnny.

Regarding the buffet of new Broadway tuners concocted from recent movies: If “Priscilla Queen of the Desert” is too hot and “Catch Me If You Can” is too cold for the taste of middle-of-the-musical-road consumers, then “Sister Act” is juuuuuust right.

Bowing on Sunday at the Marquis Theater, “Wonderland” sports good performances, snazzy costumes and even some attractive tunes by Frank Wildhorn but writer-director Gregory Boyd’s approach proves pointless because it sheds no bright or at least interesting 21st-century insights on the Victorian material.

The production's truly magical component is provided by Handspring Puppet Company, which created the life-sized animals. The russet-colored Joey, his wartime comrade Topthorn and more creatures, equine or otherwise, are exquisitely-detailed creations that amazingly come to life both through their design by Adrian Kohler with Basil Jones and the remarkable animation given them by their puppeteers.