Theater Opinions/Commentary

[mamaleh]

AIRLINE HIGHWAY is the latest Steppenwolf production from Chicago to make its way to Broadway. It's filled with very colorful--and bizarre--characters who struggle with everyday life at a sleazy, rundown motel in New Orleans. The set-up is that the elderly doyenne of the motel, Miss Ruby, who owned the most infamous strip joint in town, is dying and wants to enjoy her own funeral. The resident prostitute with the proverbial heart of gold takes charge of making sure the "party" is just right. This play had a great premise with characters you wanted to know more about, but that's its problem: the story goes nowhere and wastes good actors and characters. Julie White, whom I've been of fan of since THE LITTLE DOG LAUGHED, was nominated for a Featured Tony for her friendly hooker role in AIRLINE HIGHWAY. Not a must-see by any stretch of the imagination.

THE VISIT was haunting in all respects: eerie set that evoked the horrors to come, moody lighting, melodious songs by Kander & Ebb (CHICAGO, CABARET) with more than a soupcon of Kurt Weill-Berthold Brecht, and a memorable, mesmerizing performance by Chita Rivera as the richest woman in the world. Years before, she was terribly wronged by the little European town where she lived and became an outcast. She returns to the now-impoverished village, ready to give the town millions, providing it perform one act of--depending on one's perspective--justice or ultimate revenge. The results are chilling. OK, Chita's voice is no longer what it was, but she commands a stage par excellence. The rest of the cast, including Roger Rees as the object of her scorn, Jason Danieley and MaryBeth Peil, are also very good, as are the silent, dancing younger versions of Chita and Rees.

Ellen

[mamaleh]

A QUEEN FOR A DAY is a fairly slight, inconsequential Off-Broadway mob drama whose primary attraction is the presence of a couple of actors from "The Sopranos" TV show: Vincent Pastore and David Proval. The latter is nervously turning state's evidence before a federal prosecutor in an old, abandoned warehouse but fears the repercussions--as well as his peers finding out a secret he has kept for many years. Very skippable.

WHAT I DID LAST SUMMER at the Signature is a sweet, very likable revival of A. R. Gurney's coming-of-age play about a 14-year-old's getting wise to the ways of the world one summer during the waning days of World War II. I saw it mainly for Kristine Nielsen's (VANYA AND SONYA...) amazing performance as the local "Pig-Woman" on an island off Lake Erie, where the "right people" stay for the summer. The boy was wonderful, too. All seats through June 7 are $25. Highly recommended.

Caught the last performance of the musical DR. ZHIVAGO. The cons: too many characters, too elliptical in trying to cover all the major plot points of that sprawling novel, too many songs in the second act that sounded alike. The pros: some beautiful and lush melodies, especially in the first act, gorgeous costumes and an able cast most notably represented by someone I'd never seen before: Tam Mutu, who plays the title role. He has lots of charisma and a great voice. Hope he returns to Broadway soon. All in all, not the stinker as many labeled it, just not really good enough to sustain a long B'way run.

Ellen

[jo]

Ellen,

Your comment on Dr Zhivago was interesting. What a pity that the show was not good enough for a long run.

I have been wondering -- have the audience demos for stage musicals shifted? Like movies, commercial hits now are material that cater to young audiences. Is Dr. Zhivago ...and even Bridges of Madison County...too long-winded and old-fashioned for the younger crowds now? I think even stuff like Les Miserables and Phantom, if they opened today, may not have the same kind of audience interest back in the day. Their longevity is probably more like a force of habit - they were long-running musicals whose fame have reached the tourists ( domestic and overseas) who might see them out of curiousity?

I think even musical comedies ( which used to be staples, too) no longer enjoy the same level of audience interest unless they have music that is more contemporary in sound. No more of the lush and beautiful melodies of the past, unfortunately.

What are your thoughts?

Jo

[mamaleh]

Interesting questions, Jo. If producers knew the answers, every show would be a hit. Unfortunately, theater doesn't work like that. Take HONEYMOON IN VEGAS. It got fantastic reviews from most critics, including Brantley/NY Times. The demographic at which it was aimed was middle-aged women, mostly tourists, who comprise 60-70 percent of Broadway audiences. Yet it sank like a stone. Go figure, right? THE VISIT, starring the "unkillable" (as her character self describes) Chita Rivera, which I assumed would be a sold-out hit, is not drawing big crowds and is even papering. So the short answer is perhaps yes, old-fashioned epic musicals may no longer be the draw they once were. Aha, but then, a revival such as THE KING AND I becomes a smash hit. Perhaps there are no rules anymore...?

My observation: At most any Broadway theater in New York, you'll still see more gray heads than not--especially at subscriber-based companies such as Roundabout and Manhattan Theater Club(MTC). But there are a growing number of exceptions, all keyed to what is being presented on stage. Yes, younger people are going to musicals--but only a certain type of musical. HEDWIG AND THE ANGRY INCH is still going fairly strong after several replacement Hedwigs. At the audience I was part of, the average age looked to be no more than 30-ish. RENT probably started the practice of younger people attending musicals, but they had to have youth appeal. FUN HOME has themes that speak to younger people: outsiders yearning for acceptance, the difficulty of being different, pop culture references (the Partridge Family) and is a surprise (to many) success on Broadway. Re straight plays, the very successful CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME is attracting young audiences, who likely relate, at least to some degree, to the theme of inability to connect with other people. One doesn't have to be autistic to appreciate that.

Off-Broadway has always drawn younger audiences. When those shows transfer to Broadway, the younger audience may or may not follow them. (Not: BLOODY, BLOODY ANDREW JACKSON. Future hit: HAMILTON, a record-breaker downtown that has amassed a huge B'way advance.) Yet HAMILTON tells a sort of epic story, but in a hip-hop way that many have described as a game-changer. So it could be that the key factor is not so much the type of story but in what idiom it's told--and whether it's trumpeted on social media, for that matter.

I think you're on to something, Jo. For the most part, tastes do seem to be changing. Middle-agers now are those raised on rock and roll, presumably more open to newer forms and less likely to appreciate the classic traditions. Of course there are exceptions, such as yours truly. But of all my friends, I'm the only one who loves Rodgers & Hart, Porter, Adler & Ross, Cy Coleman, Kander & Ebb, etc. I think that's pretty telling.

Enough rambling. See what you did there, Jo?

Ellen

[jo]

Thanks for the rambling -- very insightful rambling

We see it in the movies -- even there, some fanboys are saying that the blockbusters have become too "child-friendly" and serious stuff in the genre may no longer be as attractive. I am not surprised - look at FROZEN, it has probably surpassed the more adult-friendly animation movies.

In the theatre, we see the longevity of LION KING, teen favorites like WICKED, and the Disneyfication of Broadway . It is likely that the film adaptation of BEAUTY AND THE BEAST may even challenge the all-time movie musicals commercial results. Btw, Pitch Perfect 2 is expected to top or be near the top of this week box office results.

But a pity that the theatre, in tryng to follow the money, may no longer support real artistic accomplishments in musical scores, book, and staging.

Not sure about contemporary type of music -- although I am willing to give it a chance if that is part of GREATEST SHOWMAN

Re family-friendly (aka child-friendly) entertainment/movies -- I am hoping the Black Script work of Jason Fuchs, the excellent cast, and the direction by Joe Wright of PAN will elevate this movie to real quality entertainment!

Back to the theatre --

On to progress smiley-rolleyes010

Or is it because the more mature audiences have found many other entertainment options or diversions? Or too busy with their careers or social activism or their homelife(s) -- how do you pluralize this word - LOL?


Jo

[mamaleh]

Some recent theatergoing:

NICE GIRL at the Labyrinth Theater: Lovely portrayal by Diane Davis of a young(ish) single woman living with her demanding mother who sees a chance to reconnect with an old high school crush (Nick Cordero, so good in BROOKLYNITE and BULLETS OVER BROADWAY). Flawed writing but it hits the mark on an emotional level.

THE SPOILS, at the Signature, was written by and stars Jesse Eisenberg, who, to his credit, has the courage to tackle and a knack for playing unlikable characters. Here he's a 20-something slacker who imagines himself a filmmaker but is really a semi-grownup brat living in the posh apartment his father paid for, where he treats "friends" as enemies. Lots of salty and often disgusting language in this one, so be warned. Must add this note: I've known Jesse since he was a child, when he and my son were friends in the same NJ town. I chuckled when, at the stage door, the first words out of his mouth were an apology for the language--like he was a kid talking to his friend's mom, LOL. I can't wait to see his turn as bald, evil mastermind Lex Luthor in the upcoming SUPERMAN sequel.

GROUNDED, despite a soaring performance by Anne Hathaway, stays firmly earthbound and, frankly, boring. The one-person play simply does not go anywhere, and the repetitive scenes only add to the tediousness of the piece. Hathaway is a member of the "chair force," the derisive term used by Air Force pilots who are reassigned from actual flights to instead sit at a computer in the Las Vegas desert directing drones that drop their payloads on Middle Eastern terrorists--with sometimes unforeseen consequences. The ending is haunting, but too much "nothing" takes place beforehand.

HAND TO GOD and PERMISSION are two different plays, both set in Texas, by the same playwright, Robert Askins. Each is a satire on extreme behaviors of certain practitioners of southern-fried, old-time religion. The first is Tony-nominated for Best Play, but not much of it could be featured on the Tonys telecast. In the play a sewer-mouthed puppet takes over the mind of a young man in emotional distress. The tone runs the gamut from insanely funny to horror and intense drama. This is not everyone's cup of tea, but Stephen Boyer, also Tony-nommed, is a master puppeteer....If you were wondering what happened to the elusive waitress Diana (Elizabeth Reaser) from the later episodes of MAD MEN, she can now be seen as a boozy, neglected housewife Off-B'way in PERMISSION at the Lortel. She and her underachieving husband, a computer professor, discover Christian Domestic Discipline and what ensues is audience laughter. (I had never heard of so-called "CDD," but it turns out it's a real thing.) Justin Bartha co-stars.

Two repeats: I got a freebie to revisit ON THE TOWN. Still wonderful, and such a treat to see during Fleet Week. Actual sailors were in attendance watching the pretend-sailors cavort their way on stage during a 24-hour leave....I'd seen MAMMA MIA! via standing room way back when, and thought it so-so. But hubby, for some reason, wanted to catch it before it closes up shop on B'way in September. So, off we went. Some of the numbers are still fun ("Does Your Mother Know" and "Voulez-Vous" come to mind), but the current lead, whom we'd liked years ago in a musical version of JOHNNY GUITAR, doesn't seem to have been able to shake that country-western patina, so it made for a twangy visit to the Greek Isles.

Looking forward to FINDING NEVERLAND next week.

Ellen

[mamaleh]

An unexpected lottery win afforded me another tasty dollop of SOMETHING ROTTEN. It's even better now than it was in its early previews. "A Musical"--the number done on the Tonys--tended to dominate the first act, making the second act appear lackluster by comparison. But now the big "Omelette" number in Act Two has been expanded and improved on, creating a better balance to the show. The entire cast is fabulous.

I wasn't disappointed to learn a few days beforehand that Matthew Morrison would be out of the performance I'd be seeing of FINDING NEVERLAND. I've never been a big fan, and I do like his understudy, Kevin Kern, a former Fiyero in WICKED. Hubby and I had somewhat different opinions about the show. While I liked some aspects of the story and certainly didn't think it deserved to be shut out of all awards--the sets and effects were often impressive--squeezing that much angst out of Barrie's creative decision-making just didn't seem realistic to me. The score had a pop sound that I quasi-liked, but I wasn't quite as big a fan of it as was my husband. I can see why they performed the Act One closer, "Stronger," on the Tonys, as it's visually arresting, even if a bit overblown. One major negative for me was the child playing the pivotal role of Peter at the performance I caught (several kids rotate in that role). He was, sorry to say, just not very good: his "acting" largely consisted of grimacing in every scene, no matter the emotion he was supposed to be displaying. Kelsey Grammer was entertaining, however--I didn't mind his being over the top at times. The effects accompanying the end-journey of the boys' mother wete breathtaking, and is likely to strike an emotional wallop for anyone who has ever lost a parent. I think that was my favorite scene. All in all, not a train wreck but it's no SOUTH PACIFIC.

CLINTON: THE MUSICAL is playing Off-Broadway. It's raunchy and very, very funny. Kerry Butler plays Hillary, and two actors with whom I'm not familiar essayed Bill Clinton. Yes, two: the premise of the show is that William Jefferson Clinton is actually two people: One, a caring, serious public servant; the other, a philandering good-ole boy out for a good time. And it works. Of course, Monica Lewinsky is on hand. She gets to sing a song with an unprintable title that brings down the proverbial house. Although everyone was talented, Kevin Zak, who plays Special Prosecutor Kenneth Starr, was amazing and stole the show. I'd like to see him as the star of his own show.

Soon: SIGNIFICANT OTHER.

Ellen

[foxie]

Causally have no desire to see it what is it about?

[mamaleh]

Do you mean SIGNIFICANT OTHER? It's a comedy about a young gay guy, Jordan, who's looking for love as all his female friends find their special someone. Saw it last night. Very funny with a great performance by Gideon Glick as the motor-mouthed, frenetic protagonist who is desperate to find love. I found it odd that he seems to have only women friends, but that's the premise. They were a tight coterie in college, but now as they near 30, each is pairing off and Jordan sees himself as abandoned by them. Barbara Barrie is wonderful as Jordan's grandma. The play is by the author of BAD JEWS, which I loved, as well. Definitely worth seeing.

Ellen

[jo]

Ellen,

What have you heard about ALWebber's SCHOOL OF ROCK? It's still at the workshop stage but they are showing performances at Grammercy theatre until it eventually moves to Broadway. Michael Riedel has written about it as one of two threats to HAMILTON for next year's TONYs. Broadway.com has posted three song performances ( they do have an inside man/woman -- Imogene Lloyd Webber works for them) and they are on You Tube. Already some very strong gushing on BWW from people who have seen the workshop performances. Can it beat Billy Elliot and Matilda in appeal?

It is based on the Jack Black movie -- and if you have seen the clips on YouTube of the workshop performances -- it is a very energetic and very exciting piece of musical theatre, with accent on rock! The kids are fabulous -- playing instruments, singing, dancing, being appealing ( as only kids can!), and it looks like it might be a hit! ALW was seen in one performance occupying the music/instruments box, mouthing the words to the singing. I guess people have forgotten that his very first musical, with Tim Rice, was also rock-oriented. Remember the many colored ( Technicolor!) coat of Joseph


Jo

[mamaleh]

Yes, I've heard all that buzz about SCHOOL OF ROCK, including that it's going to be one very hot ticket. It was reported that Tina Fey couldn't get a ticket to the Gramercy performances, but I'd take that with a grain of salt. I liked, didn't love, the movie. But it sounds like a worthy successor to the family-friendly brand of musicals that traditionally do fairly well, plus it has the inimitable ALW stamp. All signs bode well.

Ellen

[jo]

More details from ALWebber himself --

www.broadwayworld.com/article/Andrew-Lloyd-Webber-to-Bring-SCHOOL-OF-ROCK-to-London-Following-Broadway-Run-20150615#

Previewing in November and opening officially on Broadway at the Winter Garden in December 2015.

[carouselkathy]

About HAMILTON...

I was a music major and a history minor, so naturally felt obligated to check out the OCR of HAMILTON. To my surprise, I was very much impressed. I'm not at all a fan of rap, and wasn't fond of IN THE HEIGHTS, but HAMILTON is in a league all by itself. It's opera with rap as modern recitative. Mozart and Rodgers and Hammerstein would be proud. I especially liked the use of strings as accompaniment. It's a history lesson melding the evolution of musical styles. I'm a fan of traditional musical theater. I walked out of FINDING NEVERLAND at intermission, finding it to be too much like a Las Vegas show. I'd like to see HAMILTON. Perhaps it will tour to L.A.

[foxie]

Hey Kathy saw TKAI with a new king it was so much better a dream!!

[mamaleh]

I've seen HAMILTON twice now, once downtown and once since its transfer to Broadway. Both times I found it exhilarating. Kathy, the choreography and constant angular movement dovetail perfectly with the practically sung-through, highly charged score. It's nearly 3 hours, but the time zips by. While Lin-Manuel Miranda gives a very good performance, his real strengths lie in creating the book, music and very clever lyrics. For me the standout performer is Leslie Odom, Jr. as Hamilton's assassin, Aaron Burr. His "The Room Where It Happens" number is amazing. Another scene stealer: Daveed Diggs as Jefferson in his "What'd I Miss?" number. Lots of fun.

Ellen

[jo]

Ellen,

How much would HAMILTON appeal to a non-American who may not appreciate the nuances of American history? Will it appeal like Les Miserables because the lessons in history there have been rewritten in most parts of the world ( that is my personal experience, because I saw it a year or so after our own political upheaval on the streets of Manila of which I was part of)? Or is it just pure creative style ( as a musical and as performed) which non-Americans can appreciate?

Sorry, I have some vague recollections of Alexander Hamilton ( believe it or not, we had a full semester course in American history in high school) but right now, if you mention the name, my first response would be "Has Lewis HAMILTON" ( who is British, from a mixed race) already won the FORMULA ONE CHAMPIONSHIP?". So would probably many racing fans across the world

In its appeal as a musical, how would you compare it to the superhit of a few years ago, BOOK OF MORMON? That turned out to be a bit of a dud for me. After the novelty of the theme and its execution, it did not work too well with me, as gushed about. Hamilton has historical references on its side which could make it a lot more interesting (for me).

If I ever get the chance to see it, I would be more interested in the historical aspects set to music and lyrics, plus of course the drama and the comedy -- although I am not sure if I can stand rap for three hours

Jo

[carouselkathy]

There a few songs that are not rap, Jo. Like you, I'm not a fan of rap. I've listened to the show twice, and as I said before, the rap is used like recitative between arias in opera.

Ellen, I was surprised by the presentation of Aaron Burr. He's mostly remembered as a footnote in history, when he saw himself as a more prominent figure. Never thought of feeling sorry for him until now. BOOK OF MORMON was fun, but HAMILTON is fascinating, and dare I say brilliant? Of course I haven't seen it, but I would like to someday. It seems to be the type of show in which they can easily replace the cast. It's not particularly star driven. I don't like rap, but listening to Hamilton, everything worked.

[mamaleh]

Jo, I'd say it helps to know some basic early American history, but the show can also be appreciated on a more basic, universal level in that it's the story of an immigrant who wouldn't settle for second best and made his way to the top echelons of government.

Although there are numerous tongue-in-cheek moments--notably when a smirking Jonathan Groff appears now and then in full royal regalia as King George III and sounds like Peter Noone of Herman's Hermits as he attempts to ensure the upstart American colonists that he will "show his love" for them by killing their friends and family. His main song, "You'll Be Back," brings the house down. It's one of the examples of non-rap in the show. Plus, there are some traditional-sounding showtunes, so the score is definitely not all rap (I'm not usually a fan of the genre, either), although I have to admit the rap battles in Congress are particularly effective. Interestingly, if you listen to the lyrics carefully, they contain numerous nods to past musicals and pop culture references, anachronistic though they may be.

The first time I saw HAMILTON, I thought it largely exhilarating except for a slight lull in the second act. The second time I saw it, this time on Broadway, it was sharpened to a "T," the lull vanished.

Jo, BOOK OF MORMON, by comparison, is full of edgy, outrageous, in-your-face frat boy comedy, with a score that is 100 percent pop/traditional showtunes.

HAMILTON seems never to slow down; it's kinetic, energetic and a whirlwind of motion. It definitely should be seen as well as heard. Kathy, I was initially surprised, too, at the treatment of Aaron Burr, who is definitely a co-lead in the show, in large part thanks to the explosive performance of Leslie Odom, Jr. He has a much better voice than Lin-Manuel Miranda does, but I already knew that from last summer when the two costarred in an Encores! Off-Center mini-revival of TICK TICK BOOM at City Center.

I'd recommend trying to see the original cast before the 2016 Tonys, shortly after which date the cast's contracts are said to end.

Ellen

[carouselkathy]

Ellen,

I may have to wait until it comes to L.A. on tour. These tired bones are moving more slowly, and they might be approaching retirement. Travel to NYC will be less affordable soon. We will see.

[jo]

smiley-signs101 to you both for the insights.

I don't know when ( and if) I can be back to NYC again -- but I'll take note of your comments.


Jo

[mamaleh]

DAMES AT SEA is the first Bway mounting of the Off-Broadway hit that launched Bernadette Peters in 1969. I'd never seen the show but knew it had something to do with '30s movie musicals. It's two hours of affectionate homage to movies like 42nd STREET, FOOTLIGHT PARADE and other "backstage" musicals that usually featured Ruby Keeler and Dick Powell. So it's no coincidence that the young couple are named "Ruby" and "Dick." Every cliche is lovingly mined for laughs, most notably the girl who steps off the bus with dreams of being a Broadway star and manages to achieve that dream within 24 hours by being hired to replace the star, even though the youngster doesn't know any of the dance routines. OK, it's basically one joke stretched pretty thinly, but an able cast of amazing tap dancers and farceurs makes it quite palatable. Lesli Margherita, formerly the mom-from-hell in MATILDA, is a hoot and a half as the aging diva and just about steals the show with her over-the-top dramatic poses and fantastic dancing. I also especially liked John Bolton as one of the objects of her desire. He also proves to be quite a good dancer, a talent on lesser display as the dad in the A CHRISTMAS STORY musical and as the bad guy in CURTAINS. If you don't like tap dancing, stay far away. If you do, this show is your ultimate 2-hour indulgence.

THERESE RAQUIN, set in 19th century France and adapted from a play and novel by Emile Zola, stars Keira Knightley in her Bway debut as the title character. She's trapped into a passionless marriage to a sickly mama's boy and suffers in silence until she meets her husband's friend. She and the friend are immediately taken with each other, and their ensuing affair begets unforeseen consequences. Elements of melodrama creep in but the acting is solid and the set design exquisite. Judith Light co-stars as Therese's mother-in-law.

FOOL FOR LOVE, a revival of the Sam Shepard play, stars Sam Rockwell and Nina Arianda as a pair of illicit lovers with a love-hate thing for each other. She lives in a seedy motel room and is visited by her former-and-always flame Rockwell, who is caught up in an affair with a wealthy woman at the same time. There's a lot of chairs tossed around and reddish lighting that is supposed to ramp up the passion/heat index, but I didn't sense much chemistry between the two stars. The acting is individually fine, but it just didn't add up to much for me.

OLD TIMES drew my interest for two reasons: one, I was curious to see a production of a Pinter play I'd never seen or read; and two, Clive Owen on stage. Remember that bit in the movie JFK about a mystery wrapped in an enigma in a riddle, etc.? That pretty much sums up what's going on at this play. The set looks gives off a weird, other-worldliness vibe, as though the three characters--a husband, a wife and her old friend on a visit--are marooned on an asteroid Far, Far Away. There are loud, shrieky sound at the outset, as if to say, things are askew here; you won't have an easy time of it. The audience is not exactly sure who's lying to whom or telling the truth about past and present relationships. Were the women rivals for Clive's love way back when? Or were they lovers themselves? Might the visitor be another side of the wife's personality? It's a fascinating (and short, only about 70 minutes) play but not easy to love. However, Clive Owen is commanding on stage. His costars, Eve Best (as the visitor) and Kelly Reilly (Vince Vaughn's wife on the 2nd season of TRUE DETECTIVE) hold their own just as expertly, even as the mystery deepens.

Ellen

[mamaleh]

THE HUMANS deals with an Irish-American family's Thanksgiving dinner in the dinky downtown NYC apartment of their daughter, whose lifestyle they do not approve of: she's living with her boyfriend, a much older lifetime student, who says he will soon come into money. Will he? The father has some secrets of his own, too. The play is made even more fascinating by a nicely maintained tension that has nothing to do with the family and their troubles: pots seemingly fall from the kitchen counter by themselves, and the lights go on and off at will. And what about those horrible banging sounds? Holiday uneasiness in all its forms. Highly recommended. Now Off Broadway, it's soon moving to Broadway.

THE KING AND I is grand spectacle. It's all been said. Lavish and very worth seeing. Can't remember if I wrote about this before. If I did, pardonnez-moi.

(Note: I also paid return trips to SOMETHING ROTTEN! and THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME because hubby wanted to see them.) They remain in very good shape. The latter has had major cast changes. I think I like the lead even more than I did Alex Sharp, who won a Tony for his portrayal of an autistic but very determined and focused teen.

Ellen

[foxie]

Have u seen Sylvia yet?

[mamaleh]

Yes, just recently. It was thoroughly charming, funny and much, much better than a production I'd seen a few years ago at the George Street Playhouse. Annaleigh Ashford, who I thought was the best thing about KINKY BOOTS and was wonderful as the kooky would-be ballerina in the recent revival of YOU CAN'T TAKE IT WITH YOU, absolutely steals the show. She plays Sylvia, an abandoned sheepdog adopted by Matthew Broderick one day as he strolls through Central Park. Ashford is so convincing as a canine that you immediately buy into the concept. The supporting cast is very good, too, especially Robert Sella, who is hilarious in several roles. Definitely recommended.

Ellen

[mamaleh]

The ad for KING CHARLES III might convey the impression that the play is a comedy, as it depicts a crowned Prince Charles, dressed like Henry VIII, with adhesive Band-aids over his mouth. Although there are more than a few light moments in the first act, the play is actually a brilliantly constructed mashup of KING LEAR and MACBETH that explores an outrageously original idea, served up Shakespearean style largely in iambic pentameter. What if...Queen Elizabeth were to pass away and Charles would inherit the throne? How would he deal with Parliament? And what schemes would his sons and especially daughter-in-law be cooking up? Tim Pigott-Smith is an excellent Charles, and the rest of the cast is just as much up to snuff, most of them having transferred from the original London company. If you're an Anglophile, a history or Shakespeare buff or just in the mood for something creative and clever, this is a good bet.

DADA WOOF PAPA HOT is an absorbing play that shines a light on an emerging demographic group: gay dads raising kids. As they talk about all the things any parent might--getting junior into the best preschool, trying to calm temper tantrums, wondering whether their child has a "favorite" dad--two sets of same-sex couples find themselves reevaluating their relationships and how they've changed, not always for the better. In becoming "like everyone else," has something unique been lost? John Benjamin Hickey, so good in the TV series "Manhattan," truly shines as a very conflicted "papa." Interesting side note: Alex Hurt plays one half of a younger couple, and his voice inflections sound very much like those of his dad--William Hurt. Not a must-see, but it held my attention. And the sets were gorgeous.

Ellen