Category: Capsule Reviews

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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.

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Capsule Reviews

Days of Wine and Roses

Photo by Joan Marcus

by Ben Togut

Caught in the grip of alcoholism, two lovers watch as their lives spiral out of control in Days of Wine and Roses, a new adaptation of the 1962 film, now playing at Studio 54. Two Broadway veterans at the top of their game, Kelli O’Hara and Brian d’Arcy James deliver nuanced and devastating performances as a husband and wife struggling to navigate the toll of addiction.

As Kirstie, O’Hara is truly a joy to watch. Commanding Adam Guettel’s haunting score, she has never sounded better, her rich soprano underscoring the emotional volatility of her performance. Guettel’s score provides O’Hara ample opportunity to showcase her versatility as both a vocalist and actor, as when she scats while her character drunkenly vacuums the apartment, a welcome moment of comedy in a musical with such bleak subject matter. 

D’Arcy James perfectly complements O’Hara, delivering an earnest and moving performance as Joe, a husband fighting to stay sober and keep his family afloat. The chemistry between the couple and the pathos of their performances is also a credit to director Michael Greif, whose direction establishes the emotional stakes of this classic story and breathes new life into its characters.

At once a love story and a harrowing portrait of addiction, Days of Wine and Roses is sure to resonate with audiences whether they are familiar with the original movie or not.

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Capsule Reviews

Prayer for the French Republic

Photo by Jeremy Daniel

By Ben Togut


The threat of antisemitic violence, both past and present, looms throughout Prayer for the French Republic by Joshua Harmon, now running at Manhattan Theatre Club’s Samuel J. Friedman Theatre on Broadway. A portrait of a family in crisis, one of the three-act epic’s great strengths is its dynamic ensemble cast, who embody the humor and pathos at the heart of Harmon’s timely play. 


As Elodie, the eldest daughter of the Salomon-Benhamou family, Francis Benhamou is delightfully sardonic as she defends and rails against her family’s antics and staunchly held beliefs throughout the play. Anthony Edwards gives a commanding performance as Patrick Salomon, who recounts his family’s struggle with antisemitism yet struggles with the religiosity and growing anxieties of his sister’s family. 


The scenic design by Takeshi Kata is an undeniable highlight, working seamlessly with the play’s alternating timelines, as the Benhamous’ apartment transforms back and forth between Paris of the present day and the 1940s with ease. It elegantly complements David Cromer’s staging, which places the anxieties that the Salomon-Benhamou family confronts in the past and present in conversation with each other and highlights that the struggle against antisemitism is a constant one.


An urgent story of faith and family, Prayer for the French Republic is a thought-provoking and necessary production.

Running at the Samuel J. Friedman Theatre through February 18, 2024. For more information and tickets, click here.

Categories
Capsule Reviews

Appropriate

Photo by Joan Marcus

By Ben Togut

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, now playing at the Hayes Theater. 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.

Categories
Capsule Reviews

How to Dance in Ohio

Photo by Curtis Brown/Vivacity Media Group

by Ben Togut

A colorful cast of characters celebrates the struggles and triumphs of young adults on the autism spectrum in How to Dance in Ohio, which opened at the Belasco Theatre on December 10th. Based on the HBO documentary of the same name, the musical follows seven young people as they get ready for their spring formal, highlighting how living with autism complicates their yearning for community and human connection. 

One of the musical’s great joys is its ensemble cast. Through their heartfelt performances and onstage chemistry, the cast of How to Dance in Ohio acts as a tight-knit family with a genuine commitment to the musical’s emotional heft. Standout performances include Liam Pearce, who conveys Drew’s adolescent angst through his commanding stage presence and soaring vocals, and Amelia Fei, who comes alive onstage as Caroline, navigating the challenges of finding oneself and seeking connection with both exuberance and anxiety. 

A musical guaranteed to pull on your heartstrings, How to Dance in Ohio illustrates the power of community to help us overcome the challenges in our way, and to not only succeed but thrive.

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Capsule Reviews

Spamalot

Photo by Matthew Murphy & Evan Zimmerman

by Maxwell Sterling

Following a triumphant stint at The Kennedy Center, the Broadway revival of Spamalot opened last night at the St. James Theatre with a stellar cast who is having so much fun, you can’t help but have a great time. Standout performances include Taran Killam, who masterfully tackles some of Monty Python’s most famous characters including the closeted Sir Lancelot, the French Taunter, and the Knight Who Says “Ni!”. Michael Urie does a phenomenal job as the not-so-brave Sir Robin. Leslie Kritzer, as the Lady of the Lake, steals the show with a powerhouse rendition of ‘Whatever Happened to My Part?’ Her commanding presence and vocal prowess bring the house down. Expertly directed and choreographed by Josh Rhodes, the over-the-top comedy makes this an unmissable spectacle of joy, absurdity, and charm.

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Capsule Reviews

Gutenberg!

Photo by Matthew Murphy

by Jackson Court

Alex Timbers, Josh Gad, and Andrew Rannells equal a non-stop night of laughs. A parody of the writing and producing process, Gutenberg! follows the one-night-only presentation of Gutenberg the Musical, written by and starring Bud (Josh Gad) and Doug (Andrew Rannells). The two present their larger-than-life musical idea to an audience full of “Broadway Producers,” but having spent all their budget on the theater, the two must play every character, alternating between literal hats labeled with character names. This gleefully self-aware comedy hits the mark, showcasing the unmatched chemistry between Gad and Rannells. 

Gutenberg! The Musical! Is playing through January 28th, 2024, at the James Earl Jones Theatre. 

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Capsule Reviews

Here We Are

by Lulu Diamond

The collaborative genius of Stephen Sondheim and David Ives is evident in every note, every line, and every scene of Here We Are, which opened Off-Broadway on October 22nd at The Shed. Sondheim’s signature melodic complexity intertwines seamlessly with Ives’ sharp and witty dialogue, creating a narrative that is both heartwarming and intellectually stimulating. Under the expert guidance of director Joe Mantello, the production comes alive with energy and precision, showcasing the immense talent of this all-star cast. Rachel Bay Jones and Bobby Cannavale are in their element, giving performances filled with humor and heart. David Zinn’s scenic design is a true marvel and incorporates some of the most innovative transitions seen in an Off-Broadway theater. Though the show’s score is notably unfinished, Here We Are still delivers an enjoyable evening of entertainment, living up to the legacy of Sondheim.

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Capsule Reviews

Merrily We Roll Along

Photo by Matthew Murphy

A BROADWAY MASTERPIECE REIMAGINED! Brace yourselves, theater lovers, because the revival of ‘Merrily We Roll Along’ now running at Broadway’s Hudson Theatre is an absolute triumph! With Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez leading the charge, this production breathes new life into a timeless classic that has long been awaiting a production worthy of its material. Viewers of original 1981 Merrily cast member Lonny Price’s celebrated documentary “Best Worst Thing That Ever Could Have Happened,” recounting how the original Broadway production flopped, might not have expected how director Maria Friedman’s new take on the musical would ‘get’ what Merrily is, and allow it to soar. But those lucky enough to grab a ticket should get ready for an unforgettable journey through friendship, ambition, and the passage of time (in reverse chronological order, of course).

Jonathan Groff’s portrayal of Frank Shepard brings unparalleled depth to this complex character, making us feel every twist and turn as his own actions perpetrate an unfortunate end to his relationships, platonic and romantic alike. Daniel Radcliffe, as Charley Kringas, is equally impressive. His transformation from a wide-eyed dreamer to a man grappling with success and the decay of his oldest friendship is a testament to his versatility as an actor, as well as his charismatic presence and impeccable comedic timing. Lindsay Mendez as Charley and Frank’s lifelong friend, sardonic writer Mary Flynn, gets to show off her extraordinary vocal range, and strikes a perfect balance between wit and vulnerability.

Krystal Joy Brown shines as the glamorous and ambitious actress Gussie Carnegie, showcasing her extraordinary range and commanding stage presence. Even amidst the high wattage of Radcliffe/Groff/Mendez, Brown manages to stop the show at the top of Act Two with “Gussie’s Opening Number.” 

Stephen Sondheim’s haunting melodies and poignant lyrics, and Jonathan Tunick’s brilliant orchestrations, sweep the audience into a sea of emotions. The plot finally feels deserving of his work, now earning the emotional depth the score affords it. This production is a celebration of friendship, dreams, and the enduring power of Sondheim’s music.

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Capsule Reviews

Purlie Victorious

Drake Dixon


Most of us know Ossie Davis as an actor and an activist.    That is about to change with the opening tonight of his play “Purlie Victorious:  A Non-Confederate Romp Through the Cotton Patch”. 

Perhaps best known for the work that inspired the popular musical “Purlie”, “Purlie Victorious” stands on its own as a major achievement.   It is also a rediscovery, since it hasn’t been seen in a commercial production since 1961 when it opened on Broadway at the Cort Theatre.   

The plot may seem simplistic. Purlie has come home to Cotchipee County (locale: somewhere in the Deep, Deep South) to reclaim an inheritance owed to his family and purchase the church called Big Bethel.   However,  the machinations that involve this reclamation are anything but.   And Davis’s sharp-witted script, embellished with delicious one-liners, is a comic feast of Machivellian twists and turns that result in one of the freshest and funniest play that that we’ve seen in years.  The side-splitting shenanigans that transpire in the fast-paced 95 minutes are complemented by unexpected surprises.  When Purlie welcomes his soon-to-be disciple Lutiebelle into his home, you think he will be effusively greeted by Aunt Missy, his sister-in-law.  And that’s just when the fun begins, courtesy of the expert staging of Kenny Leon.  Leon’s stagings of such powerhouse plays as “Fences,” “A Raisin in the Sun”, last season’s “TopDog UnderDog” and “Ohio State Murders” have cemented his reputation as one of our most accomplished directors.  Hitherto, he’s not been able to establish his mark in comedy.   That mark is made indelibly with this production.  And what an ensemble has been assembled:  Leslie Odom radiates charm, charisma and conviction as our protagonist who specializes in “white folk psychology”;  Kara Young, nominated for back-to-back Tonys the past two seasons in “Clydes” and “The Cost of Living”, surprises as the most engaging comedienne Broadway has seen since Annaleigh Ashford captivated in “You Can’t Take It With You”;  Bill Eugene Jones, seen earlier this season in “Fat Ham”, is uproarious as Gitlow, the “deputy for the colored”; Jay O. Sanders is bombastically hilarious as the Ol Cap’n, the symbol of the Old South; Noah Robbins, in the role that Alan Alda originated, is a wonderfully amusing antagonist to his father, the ol Cap’n; Vanessa Bell Colby’s “That’s the Biggest Lie Since the Devil Learned to Talk”  line brings down the house with her exquisite comic timing and the sheriff and deputy of Bill Timoney and Noah Pyzik are goofily expert.   It’s a terrific ensemble. 

Derek McLane’s set transformation for the  epilogue wins applause and it deserves to.  And the epilogue itself is so memorable…combining ,as much as “Purlie Victorious” does, humor with power resulting in uplifting joyousness.  

Verdict:  You’ll have a great time.  Purlie not only emerges Victorious but this is a triumphant return to Broadway of a wonderful play.