Roma Torre — Theater Critic

Sondheim being Sondheim, you know that anything he writes is going to be intelligent, sophisticated, witty and lyrical, often self-consciously so. That's all there in the revival of his 1973 musical 'A Little Night Music,' directed by Trevor Nunn whose acclaimed London production made the trip across the pond. As modern musicals go, it's considered by many the gold standard and this production turns out to be beautiful and deeply resonant, hitting every note with stunning honesty.

Everyone in 'Race' breathes the same polluted morality that surround just about every other Mamet character. Jack Lawson and his partner Henry Brown are successful defense lawyers. And true to the stereotype they are as cynical and calculating as they come. So cynical in fact, these guys are beyond racism. They're prejudiced against everyone, or so it seems. They're trying to determine whether to take the case of a wealthy white man accused of raping a young black woman. Their newly hired associate also happens to be a young black woman which should be a tip off to anyone familiar with Mamet's writing. The play is as much about sexism as racism. In fact, despite the title, Mamet seems far more eager to steer this play into the murky waters of misogyny. As badly behaved as the men can be, beware the Mamet women.

Despite a bigger budget and some reshaping, the show is still too long and challenging for many of those with more traditional tastes. But 'Fela!' speaks to Broadway’s next generation, whose embrace of the work gives hope for the theater’s future.

The book by Joe DiPietro is missing a strong climax and the end feels tacked on. That aside, 'Memphis' is so loaded with talent, it almost seems pointless to criticize. The music by Bon Jovi keyboardist David Bryan with an assist from DiPietro on lyrics is full of the kind of soul Huey sings about. Whether it's R&B, gospel or rock and roll, the songs recall the hits of the era. And Sergio Trujillo adds a powerful visual stimulus with some dazzling choreography.

Next to so much else that's crooning on Broadway these days, you have to applaud the unique artistry that went into 'Next To Normal.' It's not perfect. And while delving into the rabbit hole of mental illness you may find the material somewhat familiar, the treatment is altogether original. 'Next To Normal' is that rare musical that touches your heart and gets under your skin.

This jukebox musical featuring vintage rock tunes from the likes of Twisted Sister and Bon Jovi is sure to turn off some theater purists. But it's so cleverly staged and impressively performed that it's an irresistible, offbeat trip of a show that hits all the right notes.

Not quite a fully realized play, it's an extended situation comedy featuring two couples meeting to discuss a playground fight between their 11-year-old sons. It seems one of the little boys whacked the other with a stick causing him to lose two teeth. At first, the interaction is civil but there are tensions in the air. It doesn't take long before emotions erupt. And look out. Besides being exceptionally funny, there are several shocking moments in this play that are bound to take you by complete surprise.

Laurents injected added realism by having the Sharks speak in their native Spanish much of the time. And Lin Manuel Miranda of 'In the Heights' fame had the task of translating two very familiar songs, 'I Feel Pretty' and 'A Boy Like That' into 'Siento Hermosa' and 'Un Hombre Asi.' The result is very effective and certainly deepens the characters. The problem is the renewed focus on gritty realism forces more scrutiny on the rest of the elements. The gang members are hardly threatening at all.

Described as a dense epic fantasy, 'Wicked,' based on a novel, is an intricate work. It tells the story of Elphaba, the bright but neglected young girl born with green skin who is good and kind. How she turns into the wicked witch is a long, winding road filled with bizarre characters and strange plot twists. The problem with the show's book, by Winnie Holzman, is that it has to cover so much ground in a connect-the-dots fashion that we're deprived of the necessary depth and character development to make us really care about Elphaba or her unlikely friend Galinda, who later becomes Glinda the good witch. Director Joe Mantello handles the intimate scenes well, but he's not quite as successful moving the traffic on Eugene Lee's dark, mechanical set. The ensemble numbers are indistinguishable. The special effects were impressive but a show of this caliber needed more. Stephen Schwartz, the composer behind 'Godspell' and 'Pippin,' has written some lovely music, particularly his ballads for the witches, but the score is uneven and the beautiful melodies that marked his earlier works are disappointingly absent here.

Mamma Mia defies scrutiny. If you attempt to analyze this mega hit from London, it'll fall apart. It's hokey, implausible and silly. The Abba music, despite its popularity, is mediocre and many are likely to think: What's the big deal?... Audiences should come prepared to check their cynicism at the door and become dancing queens, boogying giddily into the night.