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Capsule Reviews

Mother Play

by Ben Togut

Across several decades, a relentless matriarch struggles to navigate her relationship with her two children in Mother Play, now playing at The Hayes Theater. 

As Phyllis, Jessica Lange is mesmerizing. Lange commands the stage in each of her character’s iterations—as an emotionally abusive mother living in poverty, a woman grappling with her children’s queer identities, and a patient at a nursing home trying to cope with her surroundings. As Martha and Carl, Celia Keenan-Bolger and Jim Parsons deliver performances that are moving in their own right, Keenan Bolger as a tomboy struggling with her mother’s expectations and Parsons as a free thinker who remains steadfast in his principles and identity.

Under the direction of Tina Landau, the actors deftly navigate the production’s emotional terrain, finding genuine comedy amid the play’s bleak subject matter. Mother Play gets its biggest laughs through physical comedy, such as when Carl teaches Martha how to “walk like man,” parodying a masculine gait and having her imitate him. Projection design by Shawn Duan, which features a dancing chorus of roaches, provides a welcome moment of campiness while illuminating the family’s experience of poverty.

With layered performances that amplify Paula Vogel’s tragicomedy, Mother Play is an exacting portrait of family dynamics gone awry.

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Capsule Reviews

Uncle Vanya

by Ben Togut

A professor’s return to a country estate reignites old resentments in Uncle Vanya, now playing at the Vivian Beaumont Theater. Back on Broadway with a star-studded cast and a new adaptation by Heidi Schreck, Uncle Vanya finds the humor and pathos in dysfunctional family relationships and breathes new life into Chekhkov’s classic.

Steve Carrell is at the top of his game as the titular Vanya, skillfully tackling Chekhov’s humor and turning a character usually played pathetic and self-pitying into someone lovable. Anika Noni Rose delivers a regal yet grounded performance as Elena, a woman who is keenly aware of how her beauty makes her appear untouchable. Rose is a joy to watch as she reveals Elena’s true character, advocating for a smitten Sonia (Alison Pill) and exposing her own vulnerabilities when she struggles to ward off a romance with Astrov (William Jackson Harper).

The set, by Mimi Lien, features familiar furniture and a giant mural of trees in the background, making the space feel intimate and expansive, while musical interludes by Andrew Bird add a warm, homespun quality to the production. Lighting design by Lap Chi Chu and Elizabeth Harper complements the mood of the play, shifting from candlelit family gatherings to stark, white lighting in the production’s final moments.

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Capsule Reviews

Suffs

by Ben Togut

A spirited cast breathes new life into the battle for women’s voting rights in Suffs, now playing at the Music Box. The show transforms a critical period of American history into an exciting night at the theater, dramatizing the campaign for gender equality in voting rights and championing the fearless women behind it.

One of the production’s greatest assets is its ensemble, which embodies the feistiness of the suffragists and exhibits a moving sense of comradery on stage. Jenn Colella turns in a willful performance as Carrie Chapman Catt, an activist who refuses to stray from her non-confrontational strategy. She is a joy to watch as she campaigns for female suffrage in the opener “Let Mother Vote” and criticizes the aggressive  tactics of younger suffragists in “This Girl.” Broadway veteran Emily Skinner is delightfully snarky as socialite Alva Belmont. She showcases her range  by doubling as rural housewife Phoebe Burn in Act II, delivering a poignant rendition of “A Letter From Harry’s Mother.”

Another one of Suffs’s delights is its score by Shaina Taub, which balances a story of protest struggle with moments of genuine humor, such as in the song “G.A.B.”  Director Leigh Silverman’s staging elegantly complements the world Taub has created. At the end of the second act, Taub’s Alice Paul takes center stage while her castmates are silhouetted behind her, visually highlighting that it took a legion of women joining together for their voices to be heard.

At once a history lesson and a call to action, Suffs is an inspiring and timely piece of theatre.

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Capsule Reviews

The Heart of Rock and Roll

By Dabney Peterson

It begins with the rousing “Hip To Be Square” and it’s a non-stop cavalcade of the songs of Huey Lewis and the News, some of which you may remember and some of which you may not.  They are all fueled by a megawatt energy, credit to choreographer  Lorin Latarro, that will have you inspired to do the bubble wrap at your next high school reunion. This is “The Heart of Rock and Roll”, currently at the James Earl Jones Theatre. In a year populated by some very serious  (and good) musicals, here’s one that stands out for the audacity to have nothing on its mind but sheer entertainment.  And a terrific twosome at the center, Corey Cott and McKenzie Kurtz, who bears a striking resemblance to a young Hilary Clinton.

If you had a good time at Grease and Mamma Mia, you’ll have a blast at “The Heart of Rock and Roll.”  It’s hot fun in the Summertime!

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Capsule Reviews

Hell’s Kitchen

by Ben Togut

Acclaimed singer-songwriter Alicia Keys brings her tumultuous adolescence to the stage in Hell’s Kitchen, now playing at the Shubert Theatre. Featuring many of Keys’ beloved hits, Hell’s Kitchen is an emotional journey that highlights the power of community to guide us in our darkest moments. 

As Ali, Maleah Joi Moon cements herself as a star on the rise. In her Broadway debut, Joi Moon delivers a defiant and poignant performance, skilfully conveying Ali’s teenage anxieties and desires as she navigates growing up in New York City. As Ali’s overprotective mother, Shoshana Bean commands the stage with her deadpan attitude and dynamite vocals, bringing the house down with an incendiary rendition of ‘Pawn It All.’ Kecia Lewis is another one of the production’s stars. As Miss Liza Jane, Lewis delivers a soulful performance, showcasing impressive control of her lower register with Act I closer ‘Perfect Way to Die.’

One of Hell’s Kitchen’s great pleasures is how well Keys’ hits have been adapted to the stage. Thanks to orchestrations by Tom Kitt and Adam Blackstone, in a Broadway theater Keys’ anthems sound larger than life. When the cast harmonizes on ‘Girl on Fire,’ it is a moment of euphoric epiphany.

Capturing one young woman’s struggle to find herself as an artist and as an individual, Hell’s Kitchen is a story of perseverance brimming with heart.

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Capsule Reviews

The Wiz

by Ben Togut

A vibrant cast of characters infuse the Yellow Brick Road with renewed flair in The Wiz, now running at the Marquis Theater. With dynamic performances and an updated book by Amber Ruffin, The Wiz captures the humor and heart of the original musical while finding new resonance with modern audiences.

On stage, Melody A. Betts is a force to be reckoned with. She is equally captivating as Aunt Em and Evilene, stealing the show with her powerhouse vocals and larger-than-life presence. Nichelle Lewis brings an affecting pathos to the role of Dorothy. While her Dorothy is often timid, her rendition of “Home” is a marvel, her agile soprano soaring into space.

Another one of the show’s highlights is its choreography by JaQuel Knight. Knight’s versatility as a choreographer is on full display at the start of Act II  as the people of Oz dance together in a number featuring twerking, African dance, hip hop, and more. Complemented by emerald disco outfits by Sharen Davis, this number is a joy to watch, thoughtfully bridging the old with the new.

With compelling performances and a company that embodies the musical’s infectious spirit, The Wiz makes a triumphant return to Broadway.

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Capsule Reviews

An Enemy of the People

By Ben Togut

After a doctor makes a discovery that threatens the livelihood of his small town, all hell breaks loose in An Enemy of the People, now playing at Circle in the Square Theater. Returning to Broadway in a new adaptation from Amy Herzog and directed by Sam Gold, Ibsen’s drama shines as a result of its ensemble, who powerfully evoke a community struggling with a terrible truth.

Jeremy Strong delivers an impassioned performance as Thomas Stockmann, a doctor steadfast in his pursuit of justice. Strong brings such commitment and pathos to the role that audiences can’t help but root for Dr. Stockmann in his battle for the truth, even when his methods are suspect. Michael Imperioli is wonderfully despicable as Peter Stockmann, the town mayor who condemns his own brother for exposing a secret that might cause the town’s ruin. The complexity with which Imperioli navigates his character’s loyalties as both Dr. Stockmann’s sibling and the town’s mayor makes his performance a pleasure to watch.

Another strength of the production is its faithfulness to the setting of Ibsen’s drama. The lighting design by Isabella Byrd and production design by dots effortlessly transport audiences to 19th century Scandinavia through rustic, candle-lit chandeliers and the blue and white Norwegian patterning in Dr. Stockmann’s home. The Norwegian folk music sung throughout the production gives the play a homey authenticity that invites audiences into Ibsen’s world.

With performances that illuminate the complex social dynamics at the heart of Ibsen’s melodrama, An Enemy of the People is as provocative and timely as ever.

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Capsule Reviews

The Who’s Tommy

By Lulu Diamond

The 2024 revival of The Who’s Tommy, directed by Des McAnuff, is a triumphant return to the Broadway stage.

Pete Townshend’s multifaceted talent shines through with his stellar book, music, and lyrics still intact. David Korins’ set design creates a visually captivating world, complemented by Sarafina Bush’s imaginative costume design. Amanda Zieve’s lighting design electrifies the stage, while Gareth Owen’s sound design amplifies the iconic music of The Who throughout the booming Nederlander Theatre. Lorin Latarro’s fresh choreography adds a dynamic twist to this classic tale. 

Ali Louis Bourzgui’s Broadway debut as Tommy Walker is nothing short of sensational, marking him as a rising star in the theatrical world. 

This production delivers a thrilling experience, blending nostalgia with innovation, making it a must-see for both fans and newcomers alike.

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Capsule Reviews

Doubt

By Ben Togut

At a Bronx Catholic school, questions of moral authority loom large in Doubt, now playing at the Todd Haimes Theatre. Back on Broadway, the revival’s star-studded cast leans into the wit and melodrama at the heart of John Patrick Shanley’s Pulitzer Prize-winning 2004 play, and finds new points of resonance under the direction of Scott Ellis. 

Amy Ryan lends a steely conviction to the role of Sister Aloysius, taking over in short order for Tyne Daly, who was forced to withdraw from the production for medical reasons before the start of previews. Ryan embodies Doubt’s wry sense of humor as she drolly volleys with Zoe Kazan as Sister James, who serves as the perfect foil to Sister Aloysius’s cold as ice, no-nonsense persona. Throughout the play, whether she is chastising Sister James for being too innocent or taking Father Flynn, a stoic Liev Schrieber, to task for his perceived wrongdoings, Ryan is a joy to watch.

Though her time on stage is brief, Quincy Tyler Bernstine steals the show as Mrs. Muller, delivering a performance that is at once quiet and forceful. Bernstein expertly balances Mrs. Muller’s maternal tenderness with her indignance with Sister Aloysius’ actions, challenging the nun with a feistiness that makes her performance an undeniable highlight.

David Rockwell’s scenic design is another one of the show’s assets. While Doubt’s set design is minimal, its starkness complements the mood of the plot. As the set transforms from a church, to Sister Aloysius’ office, to a barren courtyard, audiences are firmly rooted in the play’s setting and somber atmosphere.

With nuanced performances that breathe new life into a modern classic, Doubt makes for a thought-provoking night at the theater. 

Categories
Capsule Reviews

Appropriate

By Ben Togut

This Capsule Review was originally published on December 18, 2023, when Appropriate opened at the Hayes Theater.

On March 25, 2024, the production begins a return Broadway engagement at the Belasco Theatre through June 23, 2024. Ella Beatty replaces Elle Fanning in the role of River.

On the occasion of their father’s death, three siblings return to a dilapidated plantation home where they must battle with dysfunctional relationships and their own demons in Appropriate. Returning to the Broadway stage, Sarah Paulson takes no prisoners. As Toni, Paulson is unrelenting yet vulnerable, delivering a masterclass in emotional volatility, especially as tensions run high in the second act. 

You would be hard-pressed to find a weak link in the cast of Appropriate. Under the direction of Lila Neugebauer, the actors shine both individually and as a whole, tackling Branden Jacobs-Jenkins’ tragicomic narrative of a dysfunctional family with both humor and heart. Michael Esper delivers an affecting performance as Franz, estranged and desperate to reconcile with his siblings over the harm he caused them in the past, while Elle Fanning is eccentric yet grounded as his younger girlfriend River.

Another highlight of Appropriate is its sound design by Bray Poor and Will Pickens. Throughout the show, an anxious chorus of cicadas pervades the theater, overwhelming audiences with the feeling that something terrible is about to happen. Just as impressive is scenic design by dots, especially in the play’s last five minutes, when rapid set changes take place as the plantation house falls into disarray and is overrun by vegetation. Together, these elements add to the play’s dramatic tension, creating an environment of dread that leaves audiences on the edge of their seats.

A riveting portrait of family dysfunction and prejudice, Appropriate is not to be missed.