All articles tagged with #theater review
The revival of Eugene O’Neill’s Anna Christie at St Ann’s Warehouse, starring Michelle Williams, is criticized for its poor casting, uneven performances, and lack of compelling direction, making it a tedious and unengaging production that fails to bring new insight to the classic play.
Keanu Reeves and Alex Winter star in a reimagined, somber production of Samuel Beckett's 'Waiting for Godot' at the Hudson Theatre, highlighting their strong performances amidst a stylized, bleak staging that explores themes of existential despair and hope.
"Death Becomes Her" is a Broadway adaptation of the 1992 horror comedy, featuring Megan Hilty and Jennifer Simard as dueling divas Madeline Ashton and Helen Sharp. The musical embraces camp and humor, with standout performances and witty songwriting by newcomers Julia Mattison and Noel Carey. While the show excels in comedic moments and special effects, it lacks depth in exploring its characters' inner lives, maintaining a surface-level focus that leaves the second act feeling repetitive. Despite this, the production is an entertaining, if not emotionally resonant, theatrical experience.
"Swept Away," a new Broadway musical featuring songs by the Avett Brothers, opened at the Longacre Theatre, offering a peculiar mix of folk music and a storyline involving cannibalism. The 90-minute show, based on a fictionalized American whaling expedition, struggles to balance its dark themes with the band's melodic tunes. Despite impressive performances, particularly by Adrian Blake Enscoe, the production's second half, set on a lifeboat, fails to captivate, leaving audiences with a strange and unsettling experience.
Grey Henson shines in the Broadway production of 'Elf,' bringing charm and humor to the holiday musical, which has been well-received by audiences and critics alike.
'Elf The Musical' returns to Broadway for a limited holiday run, offering a lively adaptation of the beloved 2003 film. While the production is a mixed bag for adults, it shines with Grey Henson's energetic performance as Buddy the Elf. The show features standout musical numbers and a vibrant finale, though it relies heavily on spectacle over plot. Directed by Philip Wm. McKinley, the musical includes a strong cast and creative team, delivering a festive experience despite some uneven elements.
The new Broadway musical "Tammy Faye," with music by Elton John and lyrics by Jake Shears, explores the life of televangelist Tammy Faye Messner. While the show, directed by Rupert Goold, captures the campy essence of her story and features strong performances, particularly by Katie Brayben, it struggles to fully convey Tammy Faye's charisma and complexity. The musical also critiques the rise of religious fundamentalism in America, but its portrayal may feel overly simplistic to U.S. audiences.
"Maybe Happy Ending" is a charming musical set in near-future Seoul, where two obsolete robots, Oliver and Claire, embark on a road-trip romance. The production, directed by Michael Arden, features a nostalgic 1990s rom-com vibe with witty exchanges and heartfelt moments. While the show doesn't delve deeply into dystopian themes, it explores the emotional journey of its robotic characters, offering a sweet and humorous take on love and companionship.
The revival of "Cats" at the Perelman Performing Arts Center, titled "Cats: The Jellicle Ball," reimagines the classic musical with a queer, ballroom competition twist. Directed by Zhailon Levingston and Bill Rauch, the production embraces the show's inherent strangeness and camp, featuring a diverse and talented cast. The fresh concept and vibrant performances have been met with enthusiastic audience reactions, making it a standout reinterpretation of Andrew Lloyd Webber's iconic work.
Samm-Art Williams’s 1979 play "Home" returns to Broadway with a mixed reception. While Tory Kittles delivers a compelling performance as Cephus Miles, the direction by Kenny Leon lacks intimacy and clear vision, resulting in uneven pacing. The play explores themes of Black migration, faith, and land ownership with humor and whimsy, but some character portrayals and repetitive jabs fall flat. Despite its flaws, "Home" remains a humorous and mythic exploration of the Black experience.
Tom Holland's return to the stage in Jamie Lloyd's modern take on "Romeo & Juliet" disappoints, with his subdued performance lacking the necessary passion. However, Francesca Amewudah-Rivers shines as Juliet, commanding the stage with her emotional depth and resilience. The production's minimalist aesthetic and innovative use of live camera projections add visual interest, but the overall muted approach detracts from the play's dramatic impact.
Tom Holland's return to the stage in Jamie Lloyd's contemporary take on "Romeo & Juliet" disappoints, with his subdued performance lacking the necessary romantic and dramatic heat. However, Francesca Amewudah-Rivers shines as Juliet, delivering a commanding and emotionally charged performance that stands out in an otherwise muted production.
Tom Holland's West End production of "Romeo and Juliet," directed by Jamie Lloyd, is criticized for its extreme stylization, which detracts from the emotional connection and clarity of the story. The minimalist set, intense lighting, and constant use of video projections and sound effects overshadow the performances, making it difficult for the audience to engage with the characters and plot. While Francesca Amewudah-Rivers' Juliet and Freema Agyeman's Nurse stand out, the overall production fails to deliver the dramatic impact expected from Shakespeare's classic play.
Suzan-Lori Parks's play "Sally & Tom" at the Public Theater explores the relationship between Sally Hemings and Thomas Jefferson through a metatheatrical lens, but falls short in delivering a powerful impact. While addressing themes of race, ambition, and integrity, the play's tone feels muted and the characters' struggles lack sharp, deliberate focus. Despite some poignant moments from secondary characters, the overall portrayal of the theater company and the central debate feels awkward and lacking in depth. The potential for a charged and deliberate exploration of historical ambiguities is overshadowed by a sense of comfort and sentiment, leaving the audience awaiting an impact that never fully materializes.
"The Outsiders" makes a strong entry into Broadway's singer-songwriter wave with a new musical form featuring a score and lyrics by Zach Chance, Jonathan Clay, and Justin Levine. The adaptation of S.E. Hinton's novel, set in 1967 Tulsa, captures the pangs and passions of being young and poor, with a focus on the Greasers gang. The musical's staging, performances, and choreography create an exhilarating movement world, while the characters' yearning for something more is portrayed with tenderness and depth.