Review: “Da” at Irish Repertory Theatre

January 23rd, 2015 View Comment(s)

by Samuel Leiter

"DA" at Irish Repertory Theatre (photo: Carol Rosegg via The Broadway Blog.)

“DA” at Irish Repertory Theatre (photo: Carol Rosegg via The Broadway Blog.)

The Irish Repertory Theatre is cozily in its element with Da, a lovingly realized revival of Hugh Leonard’s 1978 play about a son’s fraught relationship with his late dad (“da” in the play’s vernacular). The original—which began Off Broadway and moved to Broadway, where it copped the Tony, the Drama Desk, and the Drama Critics’ Circle awards for best play—reveled in a Tony-winning performance by the late Barnard Hughes as the delightfully cantankerous gardener of the title (a.k.a. Nick Tynan).

"DA" at Irish Repertory Theatre (photo: Carol Rosegg via The Broadway Blog.)

“DA” at Irish Repertory Theatre (photo: Carol Rosegg via The Broadway Blog.)

Call it the luck of the Irish, but the company is fortunate to have the effervescent Paul O’Brien in the role, bringing to it all the charm, obtuseness, ignorance, pride, conviviality, and vitality it requires. And, under Charlotte Moore’s vibrant direction, the rest of the authentic-sounding ensemble, especially Ciaràn O’Reilly as Charlie (Brian Murray in the original), Fiana Toibin as Mother (a.k.a. Maggie Tynan), and Sean Gormley as Mr. Drumm, provide superlative support.

Leonard’s nostalgia-laden, autobiographical tale of Charlie, a successful London playwright, who returns in 1968 to his parents’ home to attend Da’s funeral and clean up the old man’s affairs, is performed on a naturalistically detailed set, which cleverly crams a working-class family’s Dublin suburb home onto the tiny confines of the DR2’s stage, with just enough space for exterior scenes. As Charlie rummages through some paperwork, Da himself appears, as if alive. The next two hours concern the illegitimately-born Charlie’s attempts to come to terms with his memories of and feelings toward his adoptive father.

"DA" at Irish Repertory Theatre (photo: Carol Rosegg via The Broadway Blog.)

“DA” at Irish Repertory Theatre (photo: Carol Rosegg via The Broadway Blog.)

Despite the shame and anger often stirred in the scholarly young Charlie by Da’s uninformed, narrow-minded behavior (hating Britain, he favored the Germans when World War II began), he comes to appreciate the old man’s life-affirming existence. Charlie also realizes that, regardless of the efforts he made, all of them stubbornly rebuffed, nothing he could have done to help Da would ever have been able to repay him for his love, but that Da henceforth will always be with him.

Using flashbacks, the play moves back and forth in time between 1968 and Charlie’s youth, with young Charlie played by the fine Adam Petherbridge, although the older Charlie enacts himself as a six-year-old. Scenes from the past, involving Charlie’s boyhood pal Oliver (John Keating, with his welcome eccentricities); Mary Tate (Nicola Murphy, spot-on), a pretty girl with a naughty reputation suggested by her being called the Yellow Peril, with whom the desperate Charlie is about to have his first sexual encounter when Da suddenly comes along; Mr. Drumm, the cynical older man who offers young Charlie not only his first job—one he held for fourteen years—but, as a secondary father figure, the kind of honest if painful advice absent from the young man’s home life; Charlie’s sharp-tongued, demanding mother, who really rules the roost; and Mrs. Prynne (Kristin Griffith, impeccable), the stingy upper-class employer who, despite his over half a century of loyal service, rewards the too complacent Da with a measly pension and a bizarre memento from the San Francisco earthquake.

Leonard’s play, like those of so many great Irish dramatists, overflows with richly colorful, character-defining, rhythmically musical language; when well spoken, as by these actors, you hear a symphony of brogues. Despite the possibility of seeming queasily whimsical, this complexly structured play, in which a living man interacts with ghosts and his own younger self, remains consistently believable. James Morgan’s set, Michael Gottlieb’s lighting, Linda Fisher’s costumes, and Zach Williamson’s sound offer excellent assistance. Da represents the Irish Rep at its shaggin’ best.

Da
Irish Repertory Theatre
DR2 Theatre
101 E. 15th Street
Through March 8

Samuel L. Leiter is Distinguished Professor Emeritus (Theater) of Brooklyn College and the Graduate Center, CUNY. He has written and/or edited 27 books on Japanese theater, New York theater, Shakespeare, and the great stage directors. For more of his reviews, visit Theatre’s Leiter Side (www.slleiter.blogspot.com).

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Review: “Film Chinois” at Pan Asian Rep.

January 22nd, 2015 View Comment(s)

by Samuel L. Leiter

Katie Lee Hill and Jean Brassard in "Film Chinois" (photo: John Quincy Lee via The Broadway Blog.)

Katie Lee Hill and Jean Brassard in “Film Chinois” (photo: John Quincy Lee via The Broadway Blog.)

As I trudged down 42nd Street after seeing the Pan-Asian Rep’s production of Damon Chua’s Film Chinois, the chill January night air slapped me in the face like a bowl of cold lo mein. I breathed deeply, hoping to settle my sour stomach, still struggling to digest the contents of this gristly dramatic repast. The drunk on the A train lying in a pool of his own dinner didn’t make the job any easier. Reviewing is tough, I thought, but someone’s gotta do it.

Benjamin Jones and Rosanne Ma in "Film Chinois." (photo: John Quincy Lee via The Broadway Blog.)

Benjamin Jones and Rosanne Ma in “Film Chinois.” (photo: John Quincy Lee via The Broadway Blog.)

Chua’s film noirish caper takes place in 1947 Beijing, or Peking as the foreigners still called it. Mao’s communist hordes are fighting the Nationalists for control, and the exotic city crawls with spies and undercover missions. We see smoky restaurants and nightclubs; sexy femmes fatales in cheongsams, one a Red proselytizer called Chinadoll (Rosanne Ma), the other a nightclub songstress named Simone (Katie Lee Hill); a shady Belgian ambassador (Jean Brassard), Simone’s lover, who promises to get her out of the motherland if she’ll obtain something he’s after; a handsome American agent named Randolph (Benjamin Jones), passing as a tea trader; and a Chinese man of many faces (James Henry Doan), one of them noted for its prominent mole with a long white hair.

Tommy Dorsey’s “I’m Getting Sentimental Over You” and period Chinese tunes set the mood, everyone’s a tobacco chimney, bad guys are knocked cold with a single punch, there’s an elusive pair called the Twins, and the props include guns, a reel of film, cash-filled envelopes, and transit papers (a nod to or steal from Casablanca?). Characters, especially the beautiful but dangerous Chinadoll—who manipulates much of the action—break the fourth wall to talk directly to us, the irony poured on like hot sauce. In short, a shadowy world of intrigue, sex, money, bloodshed, torture, politics, and secrets.

(l to r) Rosanne Ma, James Henry Doan, and Katie Lee Hill in "Film Chinois." (Photo: John Quincy Lee via The Broadway Blog.)

(l to r) Rosanne Ma, James Henry Doan, and Katie Lee Hill in “Film Chinois.” (Photo: John Quincy Lee via The Broadway Blog.)

Sounds promising. But, with uninspired direction by Kaipo Schwab, uninspired casting, and an uninspired script that’s both obtuse and lacking in dramatic torque, the 105-minute production (with one intermission) creeps when it needs to race. The tension sags—even during a Mexican standoff—and when the big reveal arrives you couldn’t care less. About that standoff, where the two dames level pistols at one another across a tabletop: tell me why, if I really want to shoot someone, how their holding a gun is going to stop me. They’ll be spare ribs before they can pull the trigger.

Film Chinois is about as close to a fine updated rendering of mid-20th-century Chinese film noir as your strip mall take-out place is to a Michelin-rated Chinese restaurant. For a movie equivalent of the latter, take a peek at Ang Lee’s 2007 film about espionage in wartime Shanghai, Lust, Caution. Unlike Film Chinois, I guarantee it ain’t chop suey.

Film Chinois
Beckett Theatre
410 W. 42nd Street
Through February 8

Samuel L. Leiter is Distinguished Professor Emeritus (Theater) of Brooklyn College and the Graduate Center, CUNY. He has written and/or edited 27 books on Japanese theater, New York theater, Shakespeare, and the great stage directors. For more of his reviews, visit Theatre’s Leiter Side (www.slleiter.blogspot.com).

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Categories: To See or Not To See

Theater Buff: Albert Guerzon of “Honeymoon in Vegas”

January 21st, 2015 View Comment(s)

Every third Wednesday of the month, a fabulous actor/singer/dancer fills out editor Matthew Wexler’s nosey little questionnaire and offers a glimpse of what he looks like from a bit closer than the mezzanine. We kicked off the New Year with a gamble and it paid off. Albert Guerzon from Honeymoon in Vegas dishes about how to stay in shape and where to binge on “wangs” and ribs.

Albert Guerzon (Photo provided by Brilliant Talent Management.)

Albert Guerzon (Photo provided by Brilliant Talent Management.)

Name:
Albert Guerzon

Show:
Honeymoon in Vegas
Nederlander Theatre
208 West 41st Street

Hometown:
Nyack, NY

Your ultimate honeymoon destination:
Boracay, Philippines. It’s not as crowded and less expensive than Hawaii.

How do you channel your inner Elvis?
Hmm. My Elvis reminds me of The Dynamo outfits in Mamma Mia. I’ve done that show for so long I can’t help but compare the boots and spandex. But I channel the moment I get to take those heels off after the curtain call. LOL!

If I wasn’t a performer, I would be:
A teacher. I think if I went the normal college route I probably would’ve studied early music education.

Places, Intermission or Curtain Call?
I love the curtain call! There’s something really special about seeing a crowd stand up and feeling like you’ve done your job as an individual and as a company. There’s a huge sense of teamwork and gratification that comes from hearing screams and seeing people on their feet. I don’t know what they’re going through but for those two-and-a-half hours we’ve been able to help them escape, laugh and be inspired.

Albert Guerzon (Photo provided by Brilliant Talent Management.)

Albert Guerzon (Photo provided by Brilliant Talent Management.)

There’s more! Take the leap…

Read more…

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Categories: Theater Buff

20at20 Returns: Discount Off-Broadway Tickets

January 20th, 2015 View Comment(s)

20Baby, it’s cold outside. Not only that, but it seems as if half of Broadway has shuttered since the New Year. But for the price of a movie and popcorn, you can treat yourself to an off Broadway show.

The Off-Broadway Alliance once again presents 20at20, a 20-day bonanza of cheap tickets to some of the most interesting off Broadway shows on the boards. Revisit a favorite or dare to see something new so you have something to brag about at Sunday brunch.

The Broadway Blog highlights our picks from this year’s line-up, but there’s no need to be picky. At this price, you can see more than one. Simply arrive at the theater 20 minutes before curtain and request a “20at20” ticket (limited availability). The offer runs January 20 through February 8.

 

nevermore

Nevermore
Creative stagecraft, poetic storytelling, and music converge in a uniquely theatrical experience that tells of one of the world’s most haunting and visionary writers, Edgar Allen Poe. Originally produced by Catalyst Theatre in 2009 to commemorate the bicentennial of Poe’s birth, Nevermore then played to sold-out houses at New York City’s New Victory Theatre. The production has continued to evolve and returns with even more wild theatricality.

 

Religion-Poster-WebRap Guide to Religion
Baba Brinkman returns to SoHo Playhouse for an encore performance of his unique riff on religion. The fourth off-Broadway show written by and starring Drama Desk Award-nominee Baba Brinkman, Rap Guide to Religion is a 75-minute, peer-reviewed rap scripture about the science of religion, from tribal animism to Islam to Justin Bieber thanking God at the MTV Teen Choice Awards. The result is one third rap concert, one third comedy, and one third TED talk, adding up to a whole new species of off Broadway theater.

 

churchill

Churchill
Last year we had Bryan Cranston as LBJ in All the Way and this year brings Chicago actor Ronald Keaton as Winston Churchill. The memory play takes place post-World War II, as Churchill reflects upon his failures and his successes; his love of art, liquor and women; and the bravery of Britain’s finest hour.

 

aveq

Avenue Q
Theater fans know that Avenue Q actually began off Broadway before moving to the Golden Theatre where it ran for more than six years and won three Tony Awards, including Best Musical. If you’ve been living under a Fraggle Rock for the last decade, the show is a hilarious romp about becoming an adult in New York City, all told through the use of innovative puppeteering. But this show isn’t exactly kid friendly, as it addresses issues like sex, drinking, and surfing the web for porn.

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Categories: The Buzz, Way Off Broadway

Just Announced: Gloria Estefan & Miami Sound Machine, One Night Only on Broadway

January 17th, 2015 View Comment(s)

unnamed-5The Broadway League has announced the date for Gloria Estefan & Miami Sound Machine: A Benefit Concert for Viva Broadway. The concert will take place on Monday, September 14th at 8:00pm at the Minskoff Theatre. Tickets will go on sale on Saturday, January 24. Audience members can expect to hear their greatest hits including: “Get On Your Feet,” “Conga,” “Rhythm is Gonna Get You,” “Mi Tierra,” and more! 

shutterstock_91494470

Gloria Estefan (photo: S. Buckley via The Broadway Blog.)

The Broadway League’s Viva Broadway initiative is an audience development partnership with the Hispanic community to help bridge the world of Broadway with Latino audiences around the country. The long-term initiative aims to increase awareness about Broadway while culturally enriching lives, bringing families together, and building new careers in the theatre. Proceeds will go towards The Broadway League’s Family First Nights®, a nationwide program specifically designed to encourage economically at-risk families to attend theatre on a regular basis.

Tickets range from $69.00 to $169.00. In addition, a limited number of VIP Packages will be available to the general public and include a pre-show champagne reception with Emilio Estefan, premium seats to the concert and post-show meet and greet cast party with Gloria Estefan and the band.

Tickets can be purchased at www.ticketmaster.com or by calling 800-745-3000.

For more information: www.broadway.org/info/viva-broadway.

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Categories: The Buzz

Review: Honeymoon in Vegas

January 15th, 2015 View Comment(s)

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 Honeymoonartwork

Will you fall in love with Honeymoon in Vegas, the latest Broadway movie adaptation that hopes to capitalize on a (semi) familiar title to lure audience goers into spending upwards of $199 for premium tickets? Well… that depends on your type. With a book by Andrew Bergman (who also wrote the screenplay) and music and lyrics by Jason Robert Brown (The Bridges of Madison County, The Last Five Years), Honeymoon in Vegas is love at first site—or rather, first listen. Brown’s dynamic score is his most accessible to date, pumped with a big band sound led by music director and conductor Tom Murray. It sets the bar high and Honeymoon mostly delivers.

The cast of "Honeymoon in Vegas" (photo: Joan Marcus via The Broadway Blog.)

The cast of “Honeymoon in Vegas” (photo: Joan Marcus via The Broadway Blog.)

The story follows commitment-shy Jack Singer (Rob McClure) and his fiancée of five years, Betsy Nolan (Brynn O’Malley), as they jet set to Las Vegas in hopes of dismissing the looming curse of Jack’s deceased mother Bea (Nancy Opel) and finally tie the knot. In one of the show’s most inventive numbers, Bea appears to Jack as a hallucination thanks to some clever stagecraft courtesy of scenic and projection designer Anna Louizos.

Once in Vegas, the couple crosses paths with con artist Tommy Korman (Tony Danza), who immediately falls for Betsy from afar as she brings back memories of his deceased wife. This sets in motion a scheme to blackmail Jack, seduce her, and apparently live the rest of his life is deceptive marital bliss. The trio eventually find themselves in Hawaii for more antics as Jack chases down his fleeting bride-to-be, and as you might imagine, it’s all resolved with obligatory Elvises in tow.

Read more…

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Crossing Borders: “Rent” Opens in Havana, Cuba

January 15th, 2015 View Comment(s)

rent cartel DIGITAL copyA new set of regulations is set to go into effect on January 16, easing restrictions on travel, business and remittances. The capital city of Havana is hoping to capitalize capitalizing on the changes, and for tourists seeking culture in this Caribbean hot spot, Nederlander Worldwide Entertainment has just the answer. In partnership with the Cuban National Council of Performing Arts, the Tony Award-winning Rent just opened.

This production marks the first Broadway musical with an all-Cuban cast, musicians and first-class production elements produced in Cuba in more than 50 years. This new production of Rent is part of Nederlander Worldwide Entertainment’s ongoing mission to bring Broadway caliber musical theater to new and emerging markets around the globe. “After several years in the making, we’re thrilled to bring this authentic Broadway production to the people of Cuba,” says Robert Nederlander, Jr., “and hope to continue working with the Cuban National Council of Performing Arts for years to come.

The Spanish language musical opened on Christmas Eve at Havana’s Bertolt Brecht Theatre to dignitaries and theater people invited by the Cuban National Council of Performing Arts and to the general public on Friday, December 26. The show’s Cuban-American director Andy Señor, Jr. recently told the Miami Herald, “We rocked the roof off the theater.” The first several weekends have sold out with tickets costing the U.S. equivalent of 50 cents. Rent will continue its run through March 2015.

 

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Categories: The Buzz, Way Off Broadway

Listen: Special Cast Album Podcast of “Beautiful – The Carol King Musical”

January 13th, 2015 View Comment(s)

beautifulartworkGhostlight Records announced today that a podcast containing exclusive commentary from cast members of the Tony Award-winning hit Beautiful—The Carole King Musical is now available for download. Interspersed with song clips from the musical, the podcast, which features annotations from original Beautiful cast members Jessie Mueller, Jake Epstein, Anika Larsen, and Jarrod Spector along with Grammy Award-winners Cynthia Weil and Barry Mann, is comprised of track-by-track commentary and behind-the-scenes details about the show, the making of the album, and the history behind the iconic songs.

Beautiful – The Carole King Musical celebrates one year on Broadway at the Sondheim Theatre (124 West 43 Street) this week, where it’s still playing to sold-out crowds. The Broadway Cast Recording, released on Ghostlight Records in 2014, is now the best-selling Grammy Award nominated Cast Album of the year.

Jessie Mueller in "Beautiful—The Carole King Musical." (photo: Joan Marcus)

Jessie Mueller in “Beautiful—The Carole King Musical.”
(photo: Joan Marcus)

The podcast, the only content of this type amongst the Musical Theater Cast Album Grammy Award nominees, is available for free download on iTunes.

With a book by Tony and Academy Award-nominee Douglas McGrath, direction by Marc Bruni and choreography by Josh Prince, Beautiful features a stunning array of beloved songs written by Gerry Goffin/Carole King and Barry Mann/Cynthia Weil.

The current Broadway cast of Beautiful includes Tony Award-winner Jessie Mueller as Carole King, Scott J. Campbell as Gerry Goffin, and Tony Award-nominees Anika Larsen and Jarrod Spector as Cynthia Weil’ and Barry Mann.

As previously announced, the show will expand to London, with a West End production opening at The Aldwych Theatre this February, and will also launch a U.S. National Tour in September 2015.

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Categories: The Buzz

Review: “HAM: A Musical Memoir” Starring Sam Harris

January 12th, 2015 View Comment(s)
Sam Harris in "HAM: A Musical Memoir" (photo: Timmy Blupe via The Broadway Blog.)

Sam Harris in “HAM: A Musical Memoir” (photo: Timmy Blupe via The Broadway Blog.)

Even within the arts, very often the powers that be like to box us in. An ingénue plays her fair share of Lauries in Oklahoma! and Marias in The Sound of Music. The character actor travels the dinner theater circuit reprising his version of Nathan Detroit in Guys and Dolls then dons a fat suit (or gains the weight) for Sancho Panza in Man of La Mancha. The idea of “type” sticks to an actor’s resume like fly paper. It takes a certain fortitude to crack the mold. . . or cast a new one. Sam Harris, who premieres tonight at Theater 511 at Ars Nova in his show HAM: A Musical Memoir, has taken a sledgehammer that ideology.

HAM_RV_FINAL.jpgHarris proves that invention and reinvention is the very essence of the creative process as he recounts his early days growing up in Sand Springs, Oklahoma, to winning the Grand Champion title in the very first season of Star Search, and finally welcoming a little star of his own into the world with the adoption of his son Cooper with husband Danny Jacobsen.

The premise of the 80-minute performance is Harris’s recent collection of essays, Ham: Slices of a Life, which was published by Simon & Schuster last year. Setting out to promote the book, Harris convinced the publishers to allow him to present a more theatrical presentation of his work than a typical bookstore reading. Producers Susan Dietz and Elaine Krauss saw a reading at 54 Below and thought there was enough there to craft a standalone musical memoir. They were right.

Harris, with the help of deft direction by Billy Porter, pummels through his life’s stories at breakneck pace. He recounts his first foray onto the stage as “one of the two mixed-raced Polynesian bastard children in the Charles Page High School production of South Pacific,” his first exposure to the rousing hymnals of the Southern Baptist church, his mentorship by producer/director Jerry Blatt, his star turn on Star Search, a suicide attempt only to be waylaid by a sibling’s unfortunate encounter with a darning needle, coming out as homosexual, and expectedly, a tribute to his son. It’s a lot.

Sam Harris in "HAM: A Musical Memoir" (photo: Timmy Blupe via The Broadway Blog.)

Sam Harris in “HAM: A Musical Memoir” (photo: Timmy Blupe via The Broadway Blog.)

But Sam Harris is a lot. Self-described as an “extreme singer,” he shies away from nothing. Some characterizations are more successful than others and some of those extraordinary high notes occasionally crackle and fade. It doesn’t matter though because through it all he approaches the material with unabashed honesty. Much of the narrative is lifted directly from the book, though, and the past tense, dense narrative sometimes feels like prose rather than dialogue intended for the stage.

The book’s structure features a non-linear collection of stories, while this performance follows a more traditional trajectory with a few key backward hiccups, including a compelling scene where Harris plays both his teenage self and his psychology teacher, Mr. McDowell, who comforts him by saying, “You can’t pick and choose and snatch away pieces of who you are and expect to be the same person. It’s all one thing. There is nothing wrong with you. Either you accept and like yourself as a complete picture or you don’t. If I were you, I wouldn’t trade the person you are or any of what got you here. What a loss that would be.” The scene leads into the evening’s 11 o’clock number, “Broken Wing,” co-written by Harris and musical director Todd Schroeder.

HAM: A Musical Memoir may inherently draw a niche audience based on Harris’s cult following and unique discography but it is a solo work worth seeing for anyone who has dared—or dreamed—to color outside the lines.

HAM: A Musical Memoir
Theater 511 at Ars Nova
Through January 24

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Broadway Week Returns Jan 20 – Feb 5

January 10th, 2015 View Comment(s)

broadwayweek

True, the dead of winter is not New York City’s most shining moment, but if you’re a die-hard theater fan there’s no better time to head to the city and snag discount tickets to some of your favorite shows. Broadway Week returns January 20 through February 5 (yes, that’s actually two weeks) and practically everything on the boards is available, but tickets are going fast.

Some of our top picks include:

The cast of 'Honeymoon in Vegas' (photo: Joan Marcus via The Broadway Blog.)

The cast of ‘Honeymoon in Vegas’ (photo: Joan Marcus via The Broadway Blog.)

Honeymoon in Vegas
This new musical, based on the beloved 1992 Nicolas Cage comedy of the same name, stars Tony Danza as Tommy Korman, an aging gangster looking for one last chance at love (no matter the cost), and Rob McClure as Jack, the conflicted young man who must fight Tommy for the love of his fiancée—set against the splashy, campy backdrop of contemporary Las Vegas.

'The Curious Incident of the Dog in the Night-Time' (photo: Joan Marcus via The Broadway Blog.)

‘The Curious Incident of the Dog in the Night-Time’ (photo: Joan Marcus via The Broadway Blog.)

The Curious Incident of the Dog in the Night-Time
An intelligent but unusual 15-year-old boy goes on a quest to prove his innocence in the death of a neighbor’s dog—and unearths a few secrets along the way. Based on Mark Haddon’s internationally best-selling novel of the same name, this drama comes to Broadway following a successful production in London’s West End, where it won seven Olivier Awards, including Best New Play.

"You Can't Take It With You" (photo: Joan Marcus via The Broadway Blog.)

“You Can’t Take It With You” (photo: Joan Marcus via The Broadway Blog.)

You Can’t Take It With You
Adhering steadfastly to the notion that money can’t buy happiness, the freewheeling Sycamore clan has forsaken boring the nine-to-five grind for idiosyncratic hobbies and offbeat pursuits. But when youngest daughter Alice brings her fiancé and his conservative—and judgmental—parents to dinner, it throws the family’s happy state of controlled chaos out of kilter. Tony winner James Earl Jones returns to Broadway in a revival of Kaufman and Hart’s 1936 classic comedy.

"Kinky Boots," set by David Rockwell (photo: ballogphoto.com)

“Kinky Boots,” set by David Rockwell (photo: ballogphoto.com)

Kinky Boots
Grammy Award–winning singer-songwriter Cyndi Lauper and four-time Tony Award winner Harvey Fierstein coauthored this musical comedy, based on the 2005 indie film hit of the same name. A young man (aided by a wise, witty drag queen) saves his family’s struggling shoe business by producing sexy women’s shoes…for men.

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Categories: The Buzz