Manhattan Theatre Club Stage I(New York, NY)
131 West 55th Street
1 - 3 of 3
by Ben Peltz - October 27, 2012
The program for Transport Group's premiere production of director Daniel Fish's stage adaptation of Jonathan Franzen's essay, House For Sale, tells us that every performance is different, because each actor has apparently memorized the entire ninety minute piece and the sections of the text they perform each night are determined on the spot when the on-stage rows of lights display the color they've been assigned. Unfortunately, audience members don't get programs until after the play is done, so if you're not aware that the original piece was written in one voice you have no idea that each ensemble member represents the same person and may wind up spending too much time trying to figure out what the blinking lights are supposed to mean.
by Kristin Salaky - October 5, 2009
One of the most interesting chapters in William Goldman's classic book of commercial Broadway, The Season, involves the pre-opening troubles with the musical, Golden Rainbow. (Yes, I'm beginning a review of Little House on the Prairie with an anecdote about a glitzy Steve & Eydie vehicle. Just go along with me on this.) Although the musical had a huge advance sale thanks to the popularity of its husband and wife stars, everyone agreed the book was a disaster. But, according to Goldman, spirits were boosted a bit when rumors started circulating that Neil Simon - who was not only the hottest playwright on Broadway at the time but a guy known for anonymously helping to doctor other shows that were in need of laughs - would be coming in to punch up the script. In the meantime another writer was recruited and told that he didn't have to come up with anything clever; just to write a straightforward, competent book that made sense of the story. Neil Simon would come in later and provide the gags. (P.S. He never did.)
by Kristin Salaky - June 26, 2008
The history of Broadway's attempts to make commercially successful sequels of hit musicals is not a pretty one. But the Opening Doors Theatre Company, now in its second season at The Duplex staging pocket-sized versions of some of Broadway's most beloved flops, can offer a fabulously fun time from even the most legendary disaster. Having premiered their Closing Notice series a year and a half ago with Bring Back Birdie, this small but increasingly impressive company headed by Producer/Artistic Director Suzanne Adams now offers a fast and funny mounting of The Best Little Whorehouse Goes Public.