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Don’t Miss This Stop: ‘In Transit’ on Broadway

December 14th, 2016 Comments off
'In Transit' (Photo: Joan Marcus via The Broadway Blog.)

‘In Transit’ (Photo: Joan Marcus via The Broadway Blog.)

I’m ashamed to admit it, but I walked into In Transit, the recently opened a cappella musical on Broadway at Circle in the Square, with a major chip on my shoulder. I’m not a fan of cutesy doo-wop, and even the show’s logo—a MetroCard with a rainbow of transit lines cascading across my playbill—left me doubtful at best. Well… I’m eating my words. Or perhaps singing them without accompaniment, as the case may be. In Transit is a joyful, heartfelt, complicated celebration of New York City that will appeal to most tourists (unless you’re from Texas, but we’ll get to that) and jaded locals like myself.

Directed and choreographed by Tony Award winner Kathleen Marshall (Anything Goes, Nice Work If You Can Get It), In Transit follows a cross-section of New Yorkers (mostly 30- and 40-somethings) as they weave their way in and out of the subterranean concrete jungle, creatively designed by Donyale Werle and beautifully lit by Donald Holder.

Margot Seibert and James Snyder in 'In Transit.' (Photo: Joan Marcus via The Broadway Blog.)

Margot Seibert and James Snyder in ‘In Transit.’ (Photo: Joan Marcus via The Broadway Blog.)

We meet Jane (Margot Seibert), a struggling actress hoping to find her big break; Nate (James Snyder), recently fired from his high-paying executive job, along with his sister Ali (Erin Mackey), who is trying to bounce back from the end of a relationship by running the New York Marathon; Trent (Justin Guarini) and Steven (Telly Leung), a gay couple on the verge of marriage if Trent can come out to his conservative “Momma” (a show-stealing, Moya Angela, who also appears as Althea, a station attendant with an attitude); and a wildly talented ensemble who provide the framework for their intertwining tales, including Boxman (alternately played by Chesney Snow and Steven “HeaveN” Cantor). I saw Cantor lay down the gauntlet with his stellar beatbox skills, which could replace an orchestra’s entire percussion section.

Music supervisor Rick Hip-Flores (Fun Home, Beautiful, Rocky) has his hands full with the material provided by credited authors, Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth. And while I can’t say I left the theater humming any show tunes, the complexity of these 11-part arrangements can’t go unnoticed. But it’s Marshall’s sensitivity to the material that keeps In Transit in tune.

Erin Mackey in 'In Transit.' (Photo: Joan Marcus via The Broadway Blog.)

Erin Mackey in ‘In Transit.’ (Photo: Joan Marcus via The Broadway Blog.)

Played with heartbreaking honesty, you can’t help but feel for Seibert’s Jane when she lands her first Broadway gig and the surprising twist that comes shortly thereafter. Also handled with complicated aplomb is the unconventional outcome of Trent’s strained relationship with his religious-right mother from Texas when he questions whether to formally come out to her as gay.

While mostly a celebration of New York City’s liberal views and diverse city streets, the only hiccup I felt was a sequence in which the gay couple goes to visit “Momma” and Texans are portrayed as backwater, gun-toting, simpletons. It’s a stroke brushed too broadly in an otherwise earnest script. Seibert and Snyder, who appeared last season in Ever After (directed and choreographed by Marshall for Paper Mill Playhouse), have terrific chemistry, while Mackey’s broken Ali is a living snapshot of anyone who’s gone through a terrible break-up.

The cast of In Transit, with their pitch-perfect harmonies and purposeful movement, will gently tug at your heartstrings. In these times of “us versus them,” there’s a bigger message they’re delivering: We’re all in this together, and love and compassion are notes worth holding on to.

In Transit
Circle in the Square
235 West 50th Street, NYC

Matthew Wexler is the Broadway Blog’s editor. Follow him on social media at @roodeloo.

“Everybody Rise!” — Our Most Memorable Theater Moments of 2015

December 31st, 2015 Comments off

The good, the bad and the ugly. We’ve seen it all over the past twelve months, from the groundbreaking musical Hamilton to the mega-flop Doctor Zhivago. 2015 was — shall we say — dramatic? Here’s our top ten list, reminding us that one never knows what to expect when the lights dim.

The cast of 'Hamilton.' (photo: Joan Marcus via The Broadway Blog.)

The cast of ‘Hamilton.’ (photo: Joan Marcus via The Broadway Blog.)

Hamilton Ushers In a New Era of Musical Theater
If you haven’t been able to score a ticket, everything you’ve heard is true… and then some. We’ve had our eye on this megahit since it premiered at The Public last spring:

“Not one performance sounds a false note, each player delivering their machine-gun patter with crystal clarity, singing with depth and feeling, and moving with dynamic precision. Miranda and Odom are perfectly counterbalanced in the leads, while each supporting player, including the members of the ensemble, establishes one or more indelible images. Production values, music, and script blend into a seamlessly integrated whole, all of it stylistically unified.”

“Will Broadway audiences be hungry for a nearly three-hour history lesson? I have no idea, but if musical theater is ever going to move to the next level, it couldn’t have a better teacher.” – Samuel L. Leiter 

"Fun Home" (photo: Joan Marcus via The Broadway Blog).

“Fun Home” (photo: Joan Marcus via The Broadway Blog).

Fun Home: A Graphic Novel Takes to the Stage
Gasps of elation were heard last spring when Fun Home snagged the Tony Award for Best Musical. But Jeanine Tesori and Lisa Kron’s musical (based on the graphic novel by Alison Bechdel) has all of the elements of a hit: a terrific score, great story, and heart-wrenching performances that will have you in a puddle by the curtain call.

Fun Home was a 2014 Pulitzer Prize for Drama finalist and it’s easy to see why. The musical, which so truthfully delves into the specifics of Bechdel’s life, also touches upon universal themes about creativity and truth. As her father falls deep into a life of deception as a means to cover up his repressed homosexuality, he inadvertently smothers her artistic expression in an unconscious attempt to control what cannot be controlled, both within him as well as others.” – Matthew Wexler

Chita Rivera in "The Visit" (photo: Thom Kaine via The Broadway Blog.)

Chita Rivera in “The Visit” (photo: Thom Kaine via The Broadway Blog.)

The Visit: Misery Loves Company 
Don’t hate the hater, but Chita Rivera’s latest return to Broadway was a serious snooze fest. Some critics felt that Kander and Ebb’s haunting score had legs, but if so, they were broken.

“Directed with what has now become his signature stamp of ensemble shuffling, John Doyle maneuvers and manipulates the players with the help of choreographer Graciela Daniele. I’m not sure who decided that a coffin should be the one major prop, but after about 90 minutes of gloom and doom one wishes that the whole show could be sealed up and buried six feet under.” – Matthew Wexler

Ease on Down the Road with George Faison
It was the year of The Wiz. Central Park SummerStage presented a tribute to the original production, hosted by George Faison, who won the Tony Award for his choreography in 1975. The televised version introduced the show to a new generation and there’s talk of a Broadway production next year. This is what Faison had to say about why the show still resonates with audiences:

“It was 1939 when Judy Garland starred in the original The Wizard of Oz. We were a country at war then, as well as 1975, and in a lot of ways we’re at war now. We were all trying to achieve a fantasy—even if we were black. But that vernacular was just an overlay. Everybody wants to be Dorothy. It is a show filled with passion and compassion.”

“The brain, the heart, and the most important virtue—courage —are the embodiment of The Wiz.

"Doctor Zhivago" (photo: Matthew Murphy via The Broadway Blog.)

“Doctor Zhivago” (photo: Matthew Murphy via The Broadway Blog.)

Doctor Zhivago: Dead on Arrival
Producers described the show as “an epic romance set during the final days of Czarist Russia, the First World War and the chaos of the Russian revolution.” With a meager total of 49 performances, critics and audiences disagreed.

“I’m pretty confident that McAnuff (two-time Tony winner for Jersey Boys and The Who’s Tommy) had a “Freaky Friday” experience with Mel Brooks, for there’s no other way to explain the over-the-top-shenanigans slathered across the stage. Actors are constantly running in and out of scenes as if the theater was on fire, shrieking and screaming the dialogue as if the audience was in Westchester.

There are nearly 40 producers listed above the title in the playbill and I have to wonder if any of them saw Doctor Zhivago before opening night—and if they did, what sort of theatrical medicine they hoped might resurrect the production. Unfortunately, this diagnosis is terminal.” Matthew Wexler

Kathleen Marshall: Tried and True    
Along with her brother, Rob Marshall, Kathleen was honored at this year’s New York Pops Birthday Gala. The evening paid tribute to the pair’s cumulative body of work and we had a chance to ask the three-time Tony winner about her attraction toward “old school” musicals.

“I sometimes think I was born in the wrong era but I’m lucky that I get to reinvent them. It’s a combination of what you’re drawn to and projects that you’re offered. But what draws me in is the music and those wonderful scores. And I’m attracted to musical comedy. They have great plot, character and story telling. They’re serious comedies and not camp.”

Gene Saks: Play On
The theater world lost one of its most endearing directors when Gene Saks passed away March 28, 2015. The three-time Tony Award winner was also an American Theatre Hall of Fame inductee. Charlotte St. Martin, Executive Director of the Broadway League, said, “Gene Saks was a notable presence on Broadway for six decades as an acclaimed performer and celebrated director. His legendary collaboration with Neil Simon contributed unparalleled magic and laughter to Broadway, and he will be missed.” 

'Dames at Sea' (photo: Jeremy Daniel via The Broadway Blog.)

‘Dames at Sea’ (photo: Jeremy Daniel via The Broadway Blog.)

Dames at Sea: Somebody Throw a Life Raft!
One of our favorite underdogs of the season unfortunately had sea legs and couldn’t find its footing. Director/choreographer Randy Skinner created a charming revival of a show that first appeared off-off-Broadway starring none other than Bernadette Peters. LAST CHANCE! Dames at Sea closes January 3. Click here for tickets.

Dames At Sea proves that bigger (and newer) isn’t always better. This charming little show is a star bright enough to outshine some of its flashier neighbors on the Great White Way.” – Matthew Wexler

Michael Feinstein (photo: Karl Simone)

Michael Feinstein (photo: Karl Simone)

Michael Feinstein: Welcome Home
New York City welcomes the return of Michael Feinstein and the renaming of 54 Below to Feinstein’s/54 Below. Passport Magazine featured an exclusive interview with Feinstein and here’s what he had to say about his return to NYC:

“Every space has its own personality, it’s odd how all of these mysterious elements come together. Comedians never did well at the Regency! In San Francisco we offer programming that includes a balance of local and other talent. 54 Below is a gorgeous room, and I’m exited to bring entertainers that I’ve worked with like Cheyenne Jackson and Alan Cumming to the space. (Of course, I’m making a presumption that they’ll want to appear!)”

“We’ll continue to craft the formula that we used at Feinstein’s. A well-trained staff, the way you’re greeted, and the food (I’m vegan so I’m always careful to have a wonderful and eclectic menu)—all of these things contribute to the experience. As far as programming, it will be the best of what they’ve presented and what I can contribute to create a collaborative synergy. We both felt it’d be to our mutual advantage and joined forces. I’m very excited and I’m looking forward to playing twice a year.”

The American Dance Machine for the 21st Century (photo: Christopher Duggan via The Broadway Blog.)

The American Dance Machine for the 21st Century (photo: Christopher Duggan via The Broadway Blog.)

American Dance Machine for the 21st Century: Let Me Dance For You!
For musical theater fanatics there is no better guilty pleasure than the relaunch of American Dance Machine. Originally conceived by the late Lee Theodore in 1976 to create a “living archive” of musical theater dance, the company’s prolific work continued until shortly after her death in 1987. Nikki Feirt Atkins founded its current incarnation in 2012 and Wayne Cilento (seven-time Tony Award nominee including a win for Best Choreography for The Who’s Tommy) directs the company’s current residence at the Joyce Theater. We can’t wait to see what they have in store for 2016.

Matthew Wexler is the Broadway Blog’s editor. Follow him on social media at @roodeloo.

Three to See: May

May 12th, 2015 Comments off

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You didn’t think we forgot about our monthly theater hotlist, did you? After more than a dozen productions opening last month, we had to catch our breath—but fear not. More curtains are rising this month. Here are the Broadway’s Blog’s picks:

An Act of GodAn Act of God
Not to be confused with Hand to God, this spring, God takes another form, this time starring four-time Emmy and Golden Globe Award winner Jim Parsons (The Big Bang Theory).The one-act comedy follows the Almighty and His devoted angels as they answer some of the deepest questions that have plagued mankind since Creation. He’s finally arrived to set the record straight… and He’s not holding back. Based on the critically acclaimed book The Last Testament: A Memoir by God, this new play was written by 13-time Emmy Award winner David Javerbaum (“The Daily Show with Jon Stewart”) and is directed by two-time Tony Award winner Joe Mantello (Wicked)

Studio 54
254 West 54th Street
Opening night: May 28
Through August 2

 

FLK_99r1_200Wx200HpxThe Flick
Annie Baker’s Pulitzer Prize-winning play is set in a run-down movie theater in central Massachusetts, where three underpaid employees mop the floors and attend to one of the last 35-millimeter film projectors in the state. Their tiny battles and not-so-tiny heartbreaks play out in the empty aisles, becoming more gripping than the lackluster, second-run movies on screen. With keen insight and a finely tuned comic eye, The Flick is a hilarious and heart-rending cry for authenticity in a fast-changing world.

Barrow Street Theatre
27 Barrow Street
Opening night: May 28
Through August 30

 

EverAfter2_Homepage_940x432_1
Ever After

Who didn’t love the charming film by the same name starring Drew Barrymore and Anjelica Huston? Three-time Tony winner Kathleen Marshall puts her creative spin on this musical adapatation and it’s no fairy tale. Ever After sets the record straight on the fable of Cinderella. It was never about fairy godmothers, talking mice, or magic pumpkins. Her name was Danielle and it was always about her wit, her smarts, her strength, and her good friend Leonardo da Vinci. She makes her own dreams come true. Warm and romantic, funny and smart, this is the musical you’ve been waiting for. Starring Christine Ebersole (Grey Gardens), Charles Shaughnessy (The Nanny) and Margot Seibert (ROCKY).

Paper Mill Playhouse
22 Brookside Drive
Opening night: May 31
Through June 26

Matthew Wexler is The Broadway Blog’s editor. Follow him on TwitterFacebook and Instagram at roodeloo

The New York Pops 32nd Birthday Gala

May 7th, 2015 Comments off

by Mark Lingenfelter

The New York Pops 32nd Birthday Gala (photo: Richard Termine via The Broadway Blog.)

The New York Pops 32nd Birthday Gala (photo: Richard Termine via The Broadway Blog.)

Alan Cumming proclaimed, “Even the orchestra is beautiful!” when he kicked off the New York Pops 32nd Birthday Gala Concert with his performance of “Willkommen” from Cabaret. In an evening that was a tribute to music honorees, brother and sister director/choreographers Rob and Kathleen Marshall, there were many fine performances from Broadway’s current theater royalty, as well as a Queen (Latifah) and King (Ken Watanabe, of Lincoln Center’s current revival of The King and I).

Under the watchful eye of musical director and conductor Steven Reineke, the 78-piece orchestra played songs from the Great White Way, as well as two film scores, all of which had a Marshall connection. The evening was dubbed “The New Golden Age” with a special focus given to songs from Broadway’s Golden era that one (or both) of the Marshalls have worked on in either revivals or television and film productions.

In addition to Cumming’s “Willkommen” from Cabaret, many other performers recreated their original roles for the tribute concert. Victor Garber gave us “Those Were the Good Old Days” from the 1994 revival of Damn Yankees, Brian Stokes Mitchell hammed up “Where is the Life That Late I Led?” from Kiss Me, Kate, and Sutton Foster returned to the Pops for the first time since her Carnegie Hall debut earlier this season to belt the title song from the 2011 Broadway revival of Anything Goes.

As a nod to the film version of Nine, Laura Benanti gave us a lovely and simple “Unusual Way” from the Maury Yeston score and Kelli O’Hara showed up on her night off from The King and I to deliver the Gershwin classic “Someone to Watch Over Me” from Nice Work if You Can Get It. But it was surprise guest Renee Fleming, who starred in this season’s short-lived Living On Love, who brought down the house with her unamplified rendition of Gershwin’s “Summertime” from Porgy and Bess. That moment has us all living on love… for Renee.

There were two moments in the concert that tugged at the heartstrings and both involved the next generation of performers. Camp Broadway, billed as “Broadway’s original enrichment program for theater-loving kids” showed up to sing an energetic  “76 Trombones” from The Music Man. I don’t know how many campers there were, but it seemed as if there was a least one for each trombone! And Rob McClure, of the recently closed Honeymoon in Vegas, arrived with some friends from the Ronald McDonald House New York to sing “You’re Never Fully Dressed without a Smile” from Annie, a number that certainly put smiles on the entire Carnegie Hall audience.

The evening wrapped up with three Kander and Ebb selections. Bebe Neuwirth pumped iron with her mic stand during the vamp leading into “All That Jazz” from Chicago. This woman’s shoulder isolations and voice don’t age! Queen Latifah was good to us when she recreated her “When You’re Good to Mama” from the film version of Chicago. And Cumming led the cast (including those kids!) in a finale of “Cabaret.”

Be sure to check out the Pops at their summer home this August at the Forest Hills Stadium in Forest Hills, Queens. August 6 will feature Sutton Foster and August 7 will feature Pink Martini.

The NY Pops 2015-2016 season kicks off Friday, October 9 with My Favorite Things: The Songs of Rodgers and Hammerstein.

Curious about the Rob and Kathleen Marshall theatrical timeline? Take a look at some of their most notable projects!

MV5BMTY4MzQ4OTY3NF5BMl5BanBnXkFtZTgwNjM5MDI3MjE@._V1__SX1189_SY612_Rob Marshall

2014 – Into the Woods film (director)
2009 – Nine film (director)
2002 – Chicago film (director)

2014 – Cabaret revival (co-direction and choreography)
1998 – Little Me revival (direction and choreography)
1998 – Cabaret revival (co-direcdtion and choreography)
1996 – A Funny Thing Happened On the Way to the Forum (choreography)
1995 – Victor/Victoria (choreography)
1994 – Damn Yankees revival (choreography)

Kelli O'Hara & Matthew Broderick in "Nice Work If You Can Get It". Photo by Joan Marcus.

Kelli O’Hara & Matthew Broderick in “Nice Work If You Can Get It”. Photo by Joan Marcus.

Kathleen Marshall

2015 – Living on Love (direction)
2012 – Nice Work If You Can Get It (direction and choreography)
2011 – Anything Goes revival (direction and choreography)
2007 – Grease revival (direction and choreography)
2006 – The Pajama Game revival (direction and choreography)
2003 – Wonderful Town revival (direction and choreography)
2003 – Little Shop of Horrors revival (choreography)
2001 – Follies revival (choreography)
2002 – Seussical (choreography)
1999 – Kiss Me, Kate revival (choreography)

Exclusive Interview: 15 Minutes with Kathleen Marshall

May 1st, 2015 Comments off

b-4879_ny_popsWhere will you be on Monday, May 4? If you want to roll with Broadway glitterati, then head to Carnegie Hall for the New York Pops’ 32nd Birthday Gala featuring music honorees Kathleen and Rob Marshall. There must have been something in the water in Pittsburgh, Pennsylvania, where the siblings grew up and first honed their theatrical talents.

Older brother Rob has had his hands (and feet) in 15 Broadway shows, along with a few films you may have heard of, like Into the Woods, Chicago, and Pirates of the Caribbean: On Stranger Tides. Kathleen first began as his assistant on Kiss of the Spider Woman and has gone on to take the directing reigns for such notable revivals as Anything Goes and the Pajama Game. This season she directed the comedy Living On Love starring Renée Fleming and Douglas Sills.

The Broadway Blog had a chance to chat with Kathleen during a rehearsal break for Ever After, a new musical (based on the 1998 film starring Drew Barrymore) opening this month at Paper Mill Playhouse.

Kathleen Marshall (photo provided by Dan Dutcher via The Broadway Blog.)

Kathleen Marshall (photo provided by Dan Dutcher via The Broadway Blog.)

BB: Congratulations on your New York Pops honor! Since the evening will pay tribute to both you and your brother, I’m curious as to your evolutions both as directors and choreographers. Are there aspects of your training as youths that carry with you today?

Kathleen: Thank you! I think we have similar tastes because of the fact that we grew up having the same experiences such as family trips and seeing all sorts of shows like ballet, symphony, opera and musicals. We also have a similar way of working, which I learned from assisting him. It was really more like an apprenticeship. Like most choreographers from Fosse to Jerome Robbins, it’s a craft that is passed down. We both like to be prepared and go in with a blueprint. You’re actually more flexible and can adapt that way, so I’d say we’re more similar than different.

BB: How is it that you came to be known as the great resurrector (both as director and choreographer) of classic musicals? 

Kathleen: I sometimes think I was born in the wrong era but I’m lucky that I get to reinvent them. It’s a combination of what you’re drawn to and projects that you’re offered. But what draws me in is the music and those wonderful scores. And I’m attracted to musical comedy. They have great plot, character and story telling. They’re serious comedies and not camp.

BB: The Tony Award nominations were pretty controversial this year and Living on Love, which you directed, is closing after just a few short weeks. How are you able to take it in stride and move on to the next project?

Kathleen: We all work on shows that we love and we put them forward in their best light. The rest is not up to us. What we control is what we put in front in the audience. We know Living On Love has a wonderful affect on audiences. It’s a comedy, so if they don’t like it, we can tell! It’s just heartbreaking in this crowded and noisy season that we didn’t get traction for a new American play that isn’t based on a film or revival. It’s hard to build an audience. You never know. But we’re very proud of it and I wouldn’t change a thing.

BB: You’re in the middle of rehearsal for the new musical Ever After. What is it about the project that resonated for you and what are you discovering in the rehearsal process?

Kathleen: Oh, this incredible cast! We’ve got Christine Ebersole, Charles Shaughnessy, Margot Seibert… it’s a new musical so they’re giving us new pages every day. The score is so beautiful and it takes a story that we’re sort of familiar with and gives it a new twist and unexpected look.

There are still limited tickets available for the 32nd New York Pops Birthday Gala, which will feature appearances by Queen Latifah, Sutton Foster, Kelli O’Hara, Alan Cumming, Brian Stokes Mitchell and more. Click here for tickets.

The New York Pops 32nd Birthday Gala (photo provided by Dan Dutcher via The Broadway Blog.)

The New York Pops 32nd Birthday Gala (photo provided by Dan Dutcher via The Broadway Blog.)

 

 

 

What a Deal: $19.57 Tickets for “Living on Love”

March 21st, 2015 Comments off
(photo: Andrew Eccles via The Broadway Blog.)

(photo: Andrew Eccles via The Broadway Blog.)

Though the new screwball Broadway comedy Living on Love begins performances on April Fools’ Day, it’s no joke that the play’s producers are offering $19.57 tickets, including a limited number of orchestra and mezzanine seats, at the first three performances only, April 1 through April 3. The special ticket price is a nod to the setting for the play – the glamorous world of New York City in 1957 when music, culture, & style reigned supreme.

The world’s most beloved opera singer Renée Fleming plays the world’s most beloved opera singer in this hilarious new screwball comedy. When her larger-than-life maestro husband (Sills) becomes enamored with the lovely young lady (Chlumsky) hired to ghostwrite his largely fictional autobiography, the diva retaliates by hiring her own handsome, young scribe (O’Connell) to chronicle her life as an opera star. Sparks fly, silverware is thrown, and romance blossoms in the most unexpected ways.

Four time Grammy Award winner Renée Fleming makes her Broadway debut alongside Tony Award nominee Douglas Sills, 2-time Emmy Award nominee Anna Chlumsky, Jerry O’Connell, Blake Hammond and Scott Robertson in Living on Love by two-time Tony Award winner Joe DiPietro, based on the play Peccadillo by Garson Kanin, and directed by three-time Tony Award winner Kathleen Marshall.

Tickets can now be purchased for these three performances for a limited time only in the following ways:

Please note that $19.57 tickets are subject to availability and apply only specified performance date and times. All sales final (no refund or exchanges) and seating restrictions may apply. Telephone /internet orders subject to Telecharge.com service fees. Limit 4 tickets per order.

Living on Love begins performances on Wednesday, April 1, 2015 and opens on Monday, April 20, 2015 at the Longacre Theatre (220 West 48th Street). The production will play an 18-week engagement through Sunday, August 2, 2015. Tickets are now on sale to the general public. For more information, visit www.LivingonLoveBroadway.com

TO SEE OR NOT TO SEE: “Nice Work” & “Clybourne Park”

April 24th, 2012 Comments off

I hope you’ve been pacing yourself because the tsunami of Broadway openings continues through the end of the week. (Maybe I’m crazy but wouldn’t a show get a lot more free publicity and buzz if it opened in a less packed couple weeks? Just saying…) Today, we’re looking at two new shows inspired by old material.

Kelli O'Hara & Matthew Broderick in "Nice Work If You Can Get It". Photo by Joan Marcus.

NICE WORK IF YOU CAN GET

Acclaimed director/choreographer Kathleen Marshall (Anything Goes) whips up a Gershwin confection about a boozy playboy and a tough gal bootlegger starring Matthew Broderick and Kelli O’Hara.

“…a shiny, dutiful trickle of jokes and dance numbers performed by talented people who don’t entirely connect with the whimsy of a bygone genre.” New York Times

“…the primo supporting cast is talented enough to sell it all.” New York Post

“A bulging box of musical-theater candy.” Hollywood Reporter

“But director/choreographer Kathleen Marshall and a stellar cast ensure that the show is as charming in execution as it is disheartening in theory.” USA Today

Read more…