Roger Friedman

It takes about 30 minutes in Palladino’s version (and the terrific director Lear deBessonet) to get Foster out on stage. That’s how much she’s fleshed out the original, thin story. All the subsidiary characters now have back stories and quips galore. But in the end it’s all about Sutton Foster. She’s pulled from the best of Burnett nd Lucille Ball, including a scene that hearkens back to Lucy and the chocolate candies. But she’s updated their gifts so they blend with hers. Foster doesn’t have her signature tap dancing in this show, but her physicality is something we haven’t seen on Broadway in a long time. “Mattress” is supposed to be a limited run, but I’ll bet it goes on much longer.

“Hell’s Kitchen” is a very high end jukebox musical, Direction (Michael Greif), Choreography (Camille A. Brown) plus costumes, sets, lighting — they’re all top notch. What would have made this show something extra? A real book, more than cardboard cut outs of characters. Allie wants is a boyfriend, which she gets. Big deal. She stumbles into music but there’s no drama. Nothing is in her way. Her mother is doing a good job. Her father is not a bad guy.

Indeed, the sets pop, the choreography is tight, and “Tommy” brims with fun. Maybe it’s a little nostalgic for classic rock fans. But I’ll take this over a lot of musicals with unhummable songs and flat scores. It’s really a tribute to Townshend, who set the bar high for rock after hearing “Sgt Pepper” and its consequent releases by other groups in the late 60s.

Jackman runs the show, it's his show as Harold Hill. He's deflated physically from playing Wolverine, probably from all the dancing, and the non stop action. He is what you look for in a Broadway leading man, full of charisma and optimism. He beams light from the stage. For me, though, it's all about Sutton Foster. They've even created a big tap dance number at the end of the show just for her (Jackman joins her but it's spotlight). When Sutton Foster grins you can see it from all over the theater. I was at the back of the orchestra but it was clear to see how much she was enjoying the show.

Jackman runs the show, it's his show as Harold Hill. He's deflated physically from playing Wolverine, probably from all the dancing, and the non stop action. He is what you look for in a Broadway leading man, full of charisma and optimism. He beams light from the stage. For me, though, it's all about Sutton Foster. They've even created a big tap dance number at the end of the show just for her (Jackman joins her but it's spotlight). When Sutton Foster grins you can see it from all over the theater. I was at the back of the orchestra but it was clear to see how much she was enjoying the show.

, : I will tell you now that you can't miss these performances -- including British actress Clare Higgins. Albee's play is a masterpiece and this group conveys it very well. There is some shaky direction by Pam McKinnon...Albee's play about family, friendship, love, and loss is devastating. 'Balance' maintains its own balance as a conventional drawing room comedy of manners that becomes an existential jigsaw puzzle. Close and Lithgow have an amazing rapport, as do Balaban and Higgins. Martha Plimpton gives it all heft as the voice of reason. The amazing Lindsay Duncan is there for upheaval, and for playing the accordion. I wish she did more on Broadway.