Category: Capsule Reviews

By Ben Lerner

Broadway is no stranger to adaptations of films, though often they’re reimagined as musicals. Dog Day Afternoon, which opened March 30 at the August Wilson Theatre, is the somewhat rarer example of a nonmusical play adapted from a classic film. It tells the same story as the Oscar-winning 1975 movie, but with a new script and certain directorial choices that make it distinctly more comedic. While diehard fans of the film will struggle with these changes – as some critics did – those who can put their purism aside, or those going in blind, will greatly enjoy this fast-paced, funny, and deeply entertaining play as its own work of art.

Sidney Lumet’s Dog Day Afternoon starred Al Pacino and John Cazale and won Frank Pierson Best Original Screenplay at the Academy Awards. It was categorized as a crime drama based on a Life magazine article about a real 1972 bank robbery in Brooklyn. Here, Jon Bernthal and Ebon Moss-Bachrach (both known for The Bear, amongst other film and TV projects) star in Pacino and Cazale’s roles with a new, darkly comic script by Pulitzer Prize-winning playwright Stephen Adly Guirgis.

Bernthal gives his all as the play’s lead, Sonny, and commands the stage with ease in his Broadway debut. His friend and sidekick in the attempted robbery of a Chase branch in Gravesend is Sal, played as very intoxicated and sedated by Moss-Bachrach. While he’s billed second, his role is significantly smaller and less impactful. The robbery goes wrong, of course, and hilarious chaos ensues as the bank staff are held hostage by very incompetent captors.

If there is a cast member other than Bernthal who deserved recognition from the Tonys, it’s not Moss-Bachrach, but three-time nominee Jessica Hecht, who is hilarious as head teller Colleen. Like the script as a whole, she successfully goes for the laughs while still revealing inner turmoil as the play goes on and stakes are raised with the NYPD surrounding the bank. Colleen’s employees, Roxxana (Elizabeth Canavan), Lorna (Wilemina Olivia-Garcia), Alison (Andrea Syglowski), and Guadalupe (Paola Lazaro), and her boss, Butterman (Michael Kostroff), provide more comic relief. 

While the play is over two hours long and its intermission is welcome, there’s a shift in content in the second act which comes abruptly. Fans of the film won’t be surprised by Sonny’s queer identity reveal, as it featured representation that was ahead of its time. Others may find it jarring, as without any references in the first act, it first seems like a joke. Luckily, Esteban Andres Cruz plays Sonny’s partner Leon, a trans woman, with a devastating humanity that is still funny, showing the audience that while Leon can tell jokes, she isn’t one herself. 

There’s more than LGBTQ representation that feels politically progressive for a play set over 50 years ago. The humanization of and compassion between the robbers and bank workers is at the center of the narrative, where the villains, if there are any, are police officers. It’s simultaneously relatable — working class tellers and would-be thieves have more in common with each other than with the systems that oppress them  — and it’s also very charming. There’s even an interactive anti-establishment chant with the audience. 

Unlike The Bear, an intense drama series categorized as a comedy by the Emmys, Dog Day Afternoon reworks the dramatic cinematic masterpiece that inspired it to a crime comedy. Sometimes reimagined pieces of art are disastrous and deserve to be forgotten. But in the case of Dog Day Afternoon, comparison is the thief of joy. It’s interesting, suspenseful, and well-acted – and the comedy doesn’t take away from its impact. Those unfamiliar with this fascinating story will be hooked by the plot and will stay for the laughs. Those planning to see a remake of the film onstage should keep an open mind – and you might enjoy it just as much.

Dog Day Afternoon runs through July 12 at the August Wilson Theatre.

The Broadway production of Queen of Versailles, recently starring Sherie Rene Scott in the lead role, offers a captivating theatrical adaptation drawn from the buzz-worthy documentary directed by Lauren Greenfield. The transition from film to stage unveils the legendary story of American wealth and aspiration through a fresh and vibrant lens. You can expect to experience both glamour and vulnerability on New York’s premiere Broadway platform at the gorgeous St. James Theatre.

Inspired by Greenfield’s 2012 documentary that chronicles the lives of Jackie and David Siegel, a billionaire couple building the largest house in America. The Broadway show reimagines their story with sharp wit and poignant drama fit for a stage, easily marrying 18th Century French royalty with modern day glitz. Originating from the book by Lindsey Ferrentino, Stephen Schwartz of Wicked fame is behind the music and lyrics. Queen of Versailles captures the delicate balance between excessive opulence and the human cost that lies beneath. Led by director Michael Arden, the production seamlessly combines humor, tension, and insight, offering a rich portrayal of the family’s ambition and challenges during the 2008 economic downturn.

The cast dazzles in bringing this story to life, with Sherie Rene Scott stepping gracefully into the leading role of Jackie Siegel, made famous by Broadway darling, Kristin Chenoweth. Scott’s standby performance is both nuanced and engaging, emphasizing the emotional depth and resilience of her character amidst the chaotic circumstances of over-indulging. The recognizable and esteemed actor F. Murray Abraham plays her billionaire husband, David Siegel with passion and conviction. Abraham lends a wealth (pun intended) of convincing love and affection for his wife, as he also grapples with family and fortune and the addiction to having “more.”

Supporting roles feature a talented ensemble whose chemistry and energy only enrich the show’s narrative, creating a dynamic atmosphere that easily keeps you thoroughly engaged. Time moves fast here because you are indeed having fun.

For theatergoers keen on shows that blend social insight with entertainment, Queen of Versailles offers a unique experience. It prompts reflection on themes like consumerism, resilience, and the elasticity of the American Dream, all within the dazzling world of a Broadway musical.

Moreover, the show incorporates moments of humor and irony, gently poking fun at the idea that more money can solve everything. The production balances spectacle with intimate character moments, ensuring the story remains thought-provoking, rather than simply lavish and superficial.

Queen of Versailles on Broadway is more than just a story about wealth. It’s is an exploration of dreams, setbacks, and the human condition beneath the glittering surface. The show begs the question of every audience member, what truly matters when the palace walls come crashing down? And that alone, is a beautiful takeaway.

Don’t miss your chance to witness this fun musical feat before it closes on January 4th, 2026. Tickets at queenofversaillesmusical.com

By Robyn Roberts

The cast of Chess on Broadway delivers an electrifying and emotionally resonant performance, guided by director Michael Mayer, and ignited by legendary score of writers, Benny Andersson, Björn Ulvaeus, and Tim Rice.

Chess arrives on Broadway with the confidence of a grandmaster and the vibe of a genuine crowd-pleaser. From the first flicker of the chessboard motif to the last sustained note, Chess makes a compelling case for the show’s return to the spotlight, embracing its Cold War intrigue and pop-opera sweep with clarity, style, and heart.

Aaron Tveit commands the stage as Freddie Trumper, infusing the role with magnetic energy and a rock-inflected vocal brilliance that captures both the character’s bravado and vulnerability. Lea Michele’s Florence Vassy lends vocal clarity with dramatic depth, anchoring the show’s complex love triangle with a performance that balances strength with sensitivity. Nicholas Christopher, playing Anatoly Sergievsky, offers a nuanced approach, his rich baritone and understated intensity gives gravitas to the Russian chess champion’s moral and personal struggles within.

The performances match the production’s ambition. The central trio generates genuine heat and nuance, suggesting the triangle not as a plot convenience but a collision of bruised egos, genuine affection, and clashing personal identities. Vocally, the cast delivers the goods. Rangy, expressive, and attentive, yet what lingers is the specificity in their actions. A glance that lands like a dagger, a breath held one beat too long, a gesture that reveals more than a lyric could alone. The Chess ensemble is a live wire, snapping into crisp formations and lending high-stakes urgency to press conferences, game matches, and media frenzies.

Musically, it’s a feast. Chess marries ABBA’s pop sophistication with theatrical sweep. The band gives the score real weight, as 1980’s synth-pop shimmers without feeling dated, guitars snarl where they should, and the strings add depth and ache. “One Night in Bangkok” crackles with satirical bite and percussive snap.

Great music and choreography aside, perhaps most impressively, the evening never loses sight of the human story. For all the spectacle, the production keeps returning to the people at the center of the story. What it costs to win, what it costs to walk away, what it means to be seen only as a symbol. By the curtain, the applause feels as much for the clarity as for the craft. Chess plays like the great musical it’s always threatened to be. Big, bold, and fiercely alive. See it at New York’s Imperial Theatre before it ends in early May, 2026. Tickets at https://chessbroadway.com/

By Ben Lerner

There’s a delightful new romantic comedy about two strangers carrying a cake across NYC. It happens to be a musical direct from London called Two Strangers (Carry A Cake Across New York), now playing on Broadway at the Longacre Theatre. 

It delivers on that premise, but I can also promise you’ll laugh, smile, swoon, and be moved. Weeping is not out of the question. Being charmed by its two leads is guaranteed. Developed in the UK but set in Manhattan and Brooklyn over two days in December, Two Strangers makes New Yorkers, Brits, and any romcom aficionado feel right at home.

Unlike the average musical comedy, Two Strangers has only two cast members — and you guessed it, they’re the two strangers in question. One is Dougal, fresh off the plane from London to attend his estranged father’s NYC wedding, and the other is Robin, a busy New Yorker and sister of the bride who is tasked with picking up “the kid.” Do they vibe at first? Of course not! Do things change? Well, it’s a romcom after all!

Luckily, a classic meet-cute leads to some surprising developments, as truths about both characters are revealed and they begin to care for each other. It follows a formula without being formulaic, largely thanks to the tiny cast, unique direction and a memorable score that spans genres.

The other referenced characters never appear, and while that can occasionally it feel incomplete, Two Strangers thrives on the chemistry and comic timing of its two leads, who are developed beautifully through their maximal stage time. Sam Tutty, known for his Olivier-winning turn as the titular character in the West End’s Dear Evan Hansen, shines as Dougal, who is at times corny, at times vulnerable, and always very adorable and very British. He played the role in London, but his costar, the phenomenal Christiani Pitts as the pessimistic (and secret-carrying!) barista Robin, is new to the Broadway transfer. Pitts, who appeared in King Kong and A Bronx Tale on Broadway, is from New York, which is clear in her referential one-liners about NYC culture. 

 Jim Barne and Kit Buchan have written a script both wholesome and clever, weaved between catchy songs well-suited for online virality, all sung expertly by Tutty and Pitts. The unique set of oversized suitcases on a Hamilton-esque turntable, designed by Soutra Gilmour, has a few surprises of its own. Its abstract nature and simplicity contrasts with the realistic image on the Playbill cover of Dougal and Robin on the subway.

Directed by Tim Jackson, Two Strangers (Carry A Cake Across New York) is another welcome British addition to the Great White Way. It’s neither radical nor revolutionary, but it’s special to see two talented actors perform a musical romantic comedy all on their own. I’d wager that there’s a bright word-of-mouth future for the production and that its score will develop a young and passionate fandom. Appealing to lovers of both situational comedy and wholesome romance, Two Strangers, set in NYC in December, is a sweet treat for the holiday season. Tickets at https://twostrangersmusical.com/

By Ben Lerner

One might think a new play based on an Ancient Greek myth would offer thought-provoking modernizations and great performances, but perhaps not too much shock value. One would be mistaken, at least when it comes to the brilliant transfer of the West End’s hit Olivier-winning production of Oedipus, which opened on Broadway on November 13 at Studio 54.

This Oedipus, adapted and directed by Robert Icke and set in the modern world of politics, uses almost entirely new language, while remaining faithful to the infamous dramatic plot points of Sophocles’ play — though they’re revealed differently through an original narrative. The character names are the same and the text displayed on screens is in Greek, though the all-British cast suggests the election occurs in the UK.

Beyond these names and motifs, Icke crafts a new, hyper-realistic political and familial drama in real time, set over two uninterrupted hours before the results of an election. Here, Oedipus (Mark Strong) is in his campaign headquarters on the precipice of victory, surrounded by his family and staff. These include his wife Jocasta (Lesley Manville), his mother Merope (Anne Reid, spectacular at age 90!), his brother-in-law/campaign manager Creon (John Carroll Lynch), and his children Eteocles, Polyneices, and Antigone (Jordan Scowen, James Wilbraham, and Olivia Reis, respectively). 

The horrifying plot twists, which I won’t describe here but are well-known to most — through the original play, Shakespeare’s version, or the corresponding Freudian psychological concepts — are inevitable, yet they hit Studio 54 with such force most of the audience leaves stunned into a silent daze. This is a testament to Icke’s writing and direction and the haunting lead performances by Strong and Manville. Both are Tony-worthy, but at the very least, Manville should be a lock to win Best Actress in a Play, as she did for this role earlier this year at the Olivier Awards.

Strong and Manville are both veterans of West End theatre perhaps more familiar to American audiences for their onscreen work — Strong for films such as Kingsman, Zero Dark Thirty and Sherlock Holmes, and Manville for her Oscar-nominated performance in Phantom Thread and Emmy-nominated role as Princess Margaret in The Crown. In Oedipus, they both reach new dramatic heights, telling their characters’ tragic tales with nuance, raw emotion, and even humor. The audience laughs before it gasps, transfixed from its start to its stunning finish. 

What transpires in between is edge-of-your-seat drama that is salacious (naturally), but also deeply devastating when set in this modern context. I left simultaneously horrified, heartbroken, and awestruck. It’s a tragedy in every sense of the word, and one that anyone who appreciates top-tier stage acting and playwriting should not miss. (Except children. Don’t bring them!)

Oedipus will shock you, sicken you, and sadden you — and it will stick with you in a way most new plays cannot. Witness it at Studio 54 now through February 8, 2026.  Tickets at https://oedipustheplay.com/