ARTS & LEISURE NEWS

BROADWAY OFF-BROADWAY ARTS BOOKS DINING TRAVEL BROADWAY Cchcck if any of the following are still on Broadway. BLACKBIRD There was a hush in the theater when it was all over. Blackbird demonstrated that there is a special elation about a play when the casting and the acting and the milieu seems effortlessly, inexplicably right. The latest Blackbird is a culmination of Joe Mantello’s best work. In this latest entry into the world of sexual deviance it is reprehensively sadistic in its cleverness. In essence reality has finally caught up to the Broadway scene. Michelle Williams gives a startling, ferocious performance. Ms. Williams turns herself into Una who has sought out Ray, the talented (Jeff Daniels) who she has not seen since he was Jailed and living in a different place with a different name when she was 12 and he was 40. She's never been able to get beyond that time when Ray and she were illicit lovers. She's been frozen in that place for fifteen years by her parents, who blame her for it, by her neighbors who point at her, by her own crippling and complex feelings about the past and about Ray.

Then one day, she sees Ray's picture in a magazine, a trade journal. There he is in the photo, smiling at the camera, but his name isn't Ray, it's Peter, Peter Trevelyan. She confronts him at his work place. He takes her into the locker room so they could talk alone.
 The two talk non-stop. You the spectator is left with the confusion about relationships even when you know it is totally wrong. I gurantee you will talking, thinking and making sense of Blackbird. At the Belasco Theater. It is a must. Reviewed by Joyce Hauser  DISASTER Full of shocking surprises and gut-busting humor, Disaster is currently making waves with its fun parodies and celebration of this comedic tribute to the genre of disaster films. The story with the 1970s theme with wonderful popular songs of that decade. The story is about a group of New Yorkers that attend the opening of a floating casino and discotheque that quickly turns into multiple disasters. These calamities correlate with plots of various disaster films of the 1970s such as earthquakes or killer bees incidents echoing situations from the films like Earthquake , The Poseidon Adventure and Airport 1975. The Cast The characters gather to gamble and dance, unaware of impending natural disasters, and the building's lack of safety measures compounds these catastrophes. Notably, the casino's structure was built on a fault line, which causes earthquakes throughout the show. The plot follows several characters' dynamics and interactions throughout, as they deal with various plot elements reminiscent of the 1970s disasters. Mr.Seth Rudetsky appears at the performance of Disaster at the Nederlander Theater eight times a week. A musical that he also wrote, together with Jack Plotnick, and for which he is the musical supervisor and song arranger. For a jukebox musical, it has attracted an unusually high-profile cast, including a “Rent”-certified heartthrob (Adam Pascal), a “Xanadu” and “Rock of Ages” veteran (Kerry Butler) and two Tony Award winners (Roger Bart and Faith Prince) With a few exceptions, everyone in the cast has a personal connection to Mr. Rudetsky. Ms. Butler he knew from childhood, and Mr. Bart and Mr. Pascal from his talk show. His history with Ms. Prince goes back to the 10 years they were in group therapy together. The director of the show Mr. Plotnick, happens to be Mr. Rudetsky’s best friend. How could it go wrong? In 2012 the show had a three-month Off Off Broadway run at the tiny Triad Theater on the Upper West Side, and in 2013 it graduated to Off Broadway, at St. Luke’s Theater.With each move, the cast has gotten more illustrious, the show more elaborate. The new production has an eight-piece band, a scenic design by Tobin Ost, and costumes by the six-time Tony winner William Ivey Long, who, it almost goes without saying, is a friend of Mr. Rudetsky’s. Disaster serves up a full menu of calamity — earthquakes, tidal waves, fire, sharks, piranhas, giant rats — with the accompaniment of the top 40 songs from that same era. If you need a reprise from not feeling tip top head for the Nederlander Theater and I promise you a good time with lots of laughs. Reviewed by Joyce Hauser  PARAMOUR Cirque du Soleil has dazzled audiences the world over, and now it’s finally on Broadway with its boldest, most heart-soaring spectacle ever. PARAMOUR spins the thrilling tale of a beautiful young actress forced to choose between love and art in the glamorous world of Golden Age Hollywood. 
Featuring eye-popping acrobatics and sumptuous music and dance, PARAMOUR is a groundbreaking new event that will transport you to a sublime world of emotion and awe as it walks the exhilarating tightrope of the heart.  Take the children since it is a production they will love. At the Lyric Theatre at 213 West 42nd Street.   AMERICAN PSYCHO Based on the best-selling novel by Bret Easton Ellis, and set in the epicenter of excess: 1980s Manhattan, American Psycho tells the story of {aBateman, a young and handsome Wall Street banker with impeccable taste and unquenchable desires. Patrick Bateman and his elite group of friends who spend their days in chic restaurants, exclusive clubs and designer labels. But at night, Patrick takes part in a darker indulgence, and his mask of sanity is starting to slip , Patrick Bateman, the psycho of the title, is a man who literally seems to have everything - stunning good looks, a fantastic physique, a beautiful fiancé, a diploma from Harvard and a successful career as a Wall Street executive. Yet, alone of the young men with whom he consorts, Patrick flatly admits to us in voice-over narration that he is literally an empty-suit - that maintained outer appearance, seemingly well-ordered social routine and empty, superficial personal relationships merely mask the moral emptiness that lurks at the core of his soul. Much of the complexity of Patrick's character comes from the fact that he seems, paradoxically, to be both obsessed with the idea of conforming to the values of the world he lives in, and, at the same time, being strangely conscious of their unreality and meaninglessness. Thus, we see him becoming almost emotionally unglued because he fears he will not be able to reserve the proper table at a posh upscale restaurant or because he feels that one of his corporate buddies has a more impressive looking business card than he does. Leave the children home, get ready with your sense of humor, and enjoy the stage settings, custom disign, and overall production at the Gerald Schoenfeld Theater.  A VIEW FROM THE BRIDGE Arthur Miller’s revival“A View From the Bridge” now playing on Broadway is his attempt to make a neo-realist Greek tragedy about a longshoreman in Brooklyn. Eddie Carbone neglects his wife because he’s in love –although he doesn’t know it –with his wife’s eighteen year-old niece. . He helps two of his wife’s cousins enter the country illegally, but when one of them makes love to the niece, he accuses him of being homosexual, and wanting to marry her to gain legitimacy in America. And then betrays both men to the immigration department. The audience—often brings a special cachet of good will toward these characters or to judge by appearances – proletarian dramas. It is supposed to be a more important effort than , say a story of incest in a middle-class family, and the audience –which, for a play like this, tends to be a liberal, educated audience—respects the good will of the author and those involved in the project. Miller’s intention is to create tragedy: but what we see is a man behaving so insanely and stupidly that we keep wondering why he isn’t put away or treated. I kept wondering why his wife didn’t have him locked up or why the lawyer – in his passion doesn’t send him to a doctor? We get the feeling of inevitability simply because we see the mechanics of what Miller is trying to do, and we get the feeling of tragedy simply because the atmosphere is so obviously ominous we know it’s all going to end badly. We all know what Miller is trying to do: he seems incapable of keeping a secret. It’s not so much a drama unfolding as a sentence that’s been passed onto the audience. We begin to wonder why we’re being put through all this when nothing good can come of it – no poetry, no deepening awareness. The problem is right at the center of Miller’s conception in some peculiarly muddled democratic way he is trying to make a tragic hero out of a common man -- he must have greater aspirations, ambitions. drives or dreams than other men. Which leads me to ask what does Eddie Carbone want? He wants his wife’s niece. A View From the Bridge has some really good performances – Mark Strong is a powerful commanding presence, and he’s a marvelous image, Michael Gould gives a believable performance and is laudable. The rest of the performers and director are quite good and with all this said I suggest you get a ticRket and see if you agree. At the Lyceum Theatre, on Broadway is “A View From the Bridge. Reviewed by Joyce Hauser  OLD TIMES Deeley and his wife Kate are visited by Anna, a mysterious friend of Kate’s from long ago. What begins as a trip down memory lane quickly becomes something more, as long-simmering feelings of fear and jealousy begin to fuel the trio’s passions, sparking a seductive battle for power. 
Academy Award® nominee Clive Owen (Closer) makes his Broadway debut alongside Tony Award® nominee Eve Best (The Homecoming) and Kelly Reilly (“True Detective”), also making her Broadway debut, in Old Times, written by Nobel Laureate Harold Pinter. Thom Yorke, singer and principal songwriter for Radiohead, provides unimportant music. Douglas Hodge (La Cage aux Folles, Roundabout's Cyrano de Bergerac), a frequent performer and director of Pinter’s works, directs this provocative revival of the haunting and passionate play, which has not been seen on Broadway in over 40 years. Photo by Joan Marcus Clive Owen, Eve Best and Kelly Reilly  The British playwright Harold Pinter is famous for mind games and confusing plots. “Old Times” is not my favorite piece but it is worth seeing just to watch talent take the stage at the Roundabout Theatre Company at the American Airlines Theatre on Broadway. Review by Joyce Hauser  SPRING AWAKENING Spring Awakening is a collaboration between Deaf West Theatre and Arden's theater company and has impressed all the critics when it opened in California. Now this wonderful musical is at the Brooks Atkinson Theatre and the best thing on Broadway. With eight Tony Awards from the original performance how could it be better? It is! The entire cast is transferred to Broadway with Oscar winner Marlee Matlin. PHOTO BY JOAN MARCUS OF AUSTIN McKenzie and cast. With the subject matter including suicide, abortion, rape, and child abuse, it is a journey from youth to adulthood featuring an explosive rock and folk score by Grammy® winner Duncan Sheik and Steven Sater. Deaf West’s amazing production takes this already winner to new heights with choreographing sign language into the production. Deaf West is recognized as the premier sign language theater in the U.S. They consistently set the standard of innovation for inclusive theatrical experiences. Based on Franz Wedekind's 1891 play with music, Spring Awakening boldly depicts how young people navigate the confusing and mysterious time of their sexual awakening. The story centers around a brilliant young student named Melchior, his troubled friend Moritz, and Wendla a beautiful young girl on her voyage to becomong a woman. Wendla is played by Sandra Mae Frank and voiced by Katie Boeck . Wendla wants information about the changes taking place in her body but her mother (Natacha Roi), who is fearsomely repressive, is unable to explain what is happening to her daughter. The consequences of this maternal cowardice will reverberate throughout the story. Not all of the roles are shared Melchior wonderfully played by Austin McKenzie falls in love with Wendla and is acted both through sign and talking. Michael Arden's direction is distinguished by the professionalism of his production's musical stagecraft. Spencer Liff's choreography helps maintain the organized movements . Ben Stanton's lighting, with its slanting shafts and darkened pockets, contributes to the overall dreamscape feeling, which is especially important in a work about frightened teenagers escaping whenever possible to their imaginations. Performed by a cast of both non-hearing and hearing actors, the show is presented synchronously in spoken English and American Sign Language. Spring Awakening is the Choice of the Week and a must see. Reviewed by Joyce Hauser  SCHOOL of ROCK Rock-and-roll wannabe Dewey Finn has decided to forge his roommate’s substitute teaching identity in order to make a few extra bucks. But when the idea hits him to transform this prestigious, preparatory elementary school classroom into a haven for molding his own band of child rock stars, hilarity and chaos are bound to ensue. Throwing away the academic curriculum, Dewey convinces his classroom instead to learn the guitar-shredding, bass-slapping and mind-blowing skills of a hardcore rock band – all in the hopes that this new group may actually win the city’s famed Battle of the Bands competition. 
 Starring Alex Brightman as Dewey Finn and Sierra Boggess as Principal Rosalie, School of Rock transforms this traditional theatrical stage into a head-banging rock concert, perfect for the entire music-loving family. 

School of Rock is a brand new musical directed by Laurence Connor and based on the film written by Mike White, starring Jack Black. In addition to songs from the 2003 movie, Broadway legend Andrew Lloyd Weber has composed 14 additional tunes to complete the rocking score. 

In the words of Dewey Finn, “May the spirit of rock be with you!”  Review by Joyce Hauser  CHINA DOLL Al Pacino takes center stage in China Doll. A play about a wealthy man, his young fiancée and an airplane. The man has just bought a new plane as a wedding present for the girl. He intends to go into semiretirement, and enjoy himself. He's in the process of leaving his office, and is giving last minute instructions to his young assistant. He takes one last phone call...The characters are Mickey Ross, a billionaire; Carson, the assistant, and a telephone. Mr. Pacino although not opening to rave reviews, I think, he does playwright David Mamet proud. Reviewed by Joyce Hauser  THE RAVEN BY EDGAR ALLAN POE (Last Paragraph) And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore! “NEVERMORE” AN IMAGINARY LIFE AND MYSTERIOUS DEATH OF EDGAR ALLAN POE Scott Shpely and Cast Photo by Joan Marcus More than a century after the death of America’s most controversial writer Edgar Allan Poe remains alive at the New World Stages Off-Broadway. Numerous biographical and critical studies have not succeeded in dispelling the myth of Poe promulgated by his first biographer, who portrayed him as a self-destructive, alcoholic, almost demonic creature. Even today, after much serious research the true Poe remains enigmatic and elusive – the same can be said of his works. I’ll leave that to you now that you have the opportunity to see Poe’s works in the fantastic play “Nevermore”. Together with the wonderful Scott Shpeley as edgar and a talented cast and the inspiration of writer, director and composer Jonathan Chistenson this is a play not to be missed. Indication of the greatness of ‘Nevermore’ was the hush in the theater when the play was over. It was a special elation about the performance where the casting and the acting and the milieu seem effortlessly, and inexplicably right. Poe wrote that his best tales were of terror combined with fantasy. “Nevermore” embodies that perfectly with a perfect piece of writing, and characterization. At the New World Stages Off-Broadway it is My Pick of the Week. Reviewed by Joyce Hauser  AN AMERICAN IN PARIS The curtain is already up as you arrive at An American in Paris; the stage is empty but for a piano. There’no overture, and, when the show starts no dancers either, Which is quite a surprise for a production that’s directed by a choreographer Christopher Wheeldon and is nearly two-thirds dance. The problem is the story, which in broad outline resembles Alan Jay Lerner’s screen-play for the Gene Kelly movie. Three men – Jerry Mulligan, a painter ; Adam Hochberg, a composer; and Henri Baurel, a Franchman who dreams of becoming an American style song-and-dance man – are unknown to each other, vying for the affection of a Parisian dancer named Lisa. It is the success of the soul that interests Lucas: the way it does or does not survive atrocity. This rarely matches the music though. But when An American in Paris is on its feet, it’s often sublime. Robert Fairchild as Jerry and Leanne Cope as Lise are beautiful and superb, and the ballet seems to release Wheeldon’s richest movement in the production. The great songs feel generic when given to characters whose main purpose is to sing them. I loved An American in Paris, the dancing, the songs and everything. Reviewed by Joyce Hauser  SKYLIGHT Academy Award nominee Carey Mulligan and my favorite British actor, Bill Nighy star in the new production of David Hare's drama about a lovely and unstable reunion of two former lovers.  Quite surprisingly a schoolteacher Kyra Hollis (Carey Mulligan) receives an unexpected visit from her one-time boss and former lover, Tom Sergeant (Bill Nighy), a successful and charismatic restaurateur. The tension before this meeting was when Tom's wife discovered the relationship between Kyra and Tom, and their work together at Tom's restaurant. Kyra walked out for a teaching job at a money-starved state school. Now, years later, Tom's wife is dead; and with conflicting emotions, such as guilt, grief, and longing, Tom has returned to settle unfinished business. But Kyra has built a new life for herself as a dedicated teacher for the under-served youth of the East End, and Tom's arrival interrupts her carefully constructed life. As the evening progresses, the two attempt to rekindle their once passionate relationship, only to find themselves having a different set of ideas and opposing ideologies and different needs. With this serious set of circumstances there is still a great platform for Bill Nighy to shine and show off his natural comedic ability. 

The cast includes Carey Mulligan, Bill Nighy and Matthew Beard. Mulligan made her Broadway debut in 2008 production of "The Seagull." Nighy starred on Broadway in Hare's "The Vertical Hour" in 2006, opposite Oscar winner Julianne Moore. There certainly will be a few awards for Skylight. At the Golden Theatre it is a limited run so don’t wait too long to get tickets. My Choice of the Week. Review by Joyce Hauser  A Royal Performance! The Audience, With Helen Mirren The Audience, written by playwright Peter Morgan, gives theatergoers a peek behind the cloistered walls of Buckingham Palace as Helen Mirren portrays Queen Elizabeth II. Glimpse the Queen’s private life, eavesdrop on official meetings, and witness moments of political intrigue as they are depicted by a cast of undeniable talent. Helen Mirren with Judith Ivey and politicos who participated in her Tuesday briefings or audiences. (Photo: Joan Marcus) Oscar and Emmy winner Helen Mirren returns to Broadway in The Audience, fresh from its triumphant London engagement, for a limited run at the Gerald Schoenfeld Theatre. You will witness the Queen’s calendar where every week since her coronation, she has met privately with the British Prime Ministers. No one else, not even their spouses, knows what they discussed during these secret encounters called the Audience. 

Peter Morgan’s look at 60 years of these interviews with 12 ministers from 1952 to the present day. From the ambassador from the Edwardian Age Winston Churchill to the Iron Lady Margaret Thatcher to the current incumbent David Cameron, the Queen listens and sometimes advises them all in both a personal and political capacity. Mirren reveals the woman behind the crown as Elizabeth journeys from young mother to a great-grandmother. Director Stephen Daldry (Billy Elliot, The Hours) who also directed the British production continues with The Audience on Broadway.
 Peter Morgan also wrote the screenplay for The Queen, in which Mirren played the same sovereign for which she won a 2006 Oscar. Mirren also won the Olivier and Evening Standard Awards for her London performance in The Audience. 
 The Audience imagines a series of pivotal meetings between the Downing Street incumbents and their Queen. From Churchill to Cameron, each Prime Minister uses these private conversations as a sounding board and a confessional - sometimes intimate, sometimes explosive. In turn, the Queen can’t help but reveal her own self as she advises, consoles and, on occasion, teases. These private audiences are important to both the Queen and the Prime Ministers. And for you the real audience will know a lot more than what you knew before the performance. Politicians come and go through the revolving door of electoral politics, while the Queen remains constant, waiting to welcome her next Prime Minister at the Gerald Schoenfeld Theatre on Broadway.  Elizabeth II Helen Mirren Anthony Eden Michael Elwyn Harold Wilson Richard McCabe David Cameron Rufus Wright Queen's Equerry Geoffrey Beevers John Major Dylan Baker Margaret Thatcher Judith Ivy Written by Peter Morgan Director Stephen Daldry Set and Costume Designer Bob Crowley Lighting Designer Rick Fisher Sound Designer Paul Arditti Review by Joyce Hauser  Alex THE ELEPHANT MAN Frederick Treves, the doctor, first tracks John Merrick down in a side-show where he’s being exhibited as the The Elephant Man. The background In Merrick’s fantasy life is his beautiful young mother is trampled by elephants when she is carrying him in her womb. When we are ready to see Merrick clearly we have become so sympathetic that there’s no disgust about it. Even before Merrick begins to speak to Treves and to recite poetry and to reveal his romantic sensibility we have become his protectors. And as we get to know him and respond to his helplessness, there is nothing frightening about him. The only horror is in what we experience on his behalf. When a young nurse sees him and screams it’s his recoil we respond to, The scenes with Mrs. Kendal (Patricia Clarkson) whose visits to Merrick turn him into a celebrity (which leads to his being taken up by London society). The first time she’s close to Merrick, Mrs. Kendal shows a flicker of disgust that she covers with her actressey poise. Her feelings are left to the audience but as time passes she becomes more involved. Merrick is so overwhelmed at meeting this beautiful woman that he muffles and weeps. There’s no sunshine in this tale of a terrible enchantment but tears from both is a jewel. Although the stage is quite minimal except for curtains that are drawn back and forth the emphasis is on the images. The acting Is wonderful, including Bradley Cooper, Patricia Clarkson, and Alessandro Nivola. At the Booth Theatre On Broadway The Elephant Man is our choice of the week. Reviewed by Joyce Hauser  HONEYMOON IN VEGAS On Broadway, Honeymoon in Vegas has a happy, excited spirit of a fanfare, and it is astonishingly entertaining. The show tells the story of Jack, (Rob McClure) a Brooklynite with an extreme fear of marriage, who finally gets up the nerve to ask his girlfriend Betsy to marry him. But when smooth-talking gambler Tommy (Tony Danza) looking for a second chance at love — falls head over heels for Betsy. Jack goes through extreme hurdles to keep the love of his life. A romantic romp from New York to Vegas to Hawaii. Honeymoon is non-stop, Fun, fun, fun on Broadway at the Nederlander Theatre.
 Meanwhile Jack (Rob McClure) has commitment issues that emanates from his dead mother who made him promise never to marry. The “Never Get Married” number is a hilarious flashback, inventively staged which has Mom (Nancy Opel) refusing to die on her death bed. Her ghost pops up everywhere, in counters at Tiffany’s, on airport runways. It’s a hilarious joke and in the second act, she turns up as an Island icon. This scene is preceded by an even more unfortunate number, “Friki-Friki,” which means “sex” in Tiki-Tiki Land and Jack is seduced by a native girl in a jeep who tries to prevent him from rescuing his soon-to-be wife. It all began when Tommy invites Jack into a crooked poker game where Jack borrows $65,000 after being dealt a straight flush (7-8-9-10-Jack of clubs), only to lose to the gambler's higher straight flush (8-9-10-Jack-Queen of hearts); Tommy, however, promises to erase the debt - if he can spend the weekend with Jack’s fiancée. After getting Tommy to agree to no sex, the desperate couple agrees. But when Jack tries desperately to get Betsy back he discovers that Tommy has taken her to Hawaii, where he has a vacation home. The gambler also has a taxi driver friend, Mahi Mahi (Pat Morita), and asks him to keep Jack as far away as possible from him. Meanwhile, after changing many planes and finding himself stuck in San Jose, Jack tries frantically to find a flight to Vegas. Finally, he finds a group about to depart for Vegas, but, much to his surprise, finds out mid-flight that they are the Utah chapter of the "Flying Elvises" - a skydiving team of Elvis impersonators. Jack now realizes that he will have to skydive from 3,000 feet in order to get to Betsy. Jack eventually is able to overcome his fear and lands and spots Betsy, which then ruins Tommy's plans. All good fun with lenty of talent. David Josefsberg as lead Elvis Photo by Joan Marcus The final scene shows Jack and Betsy getting married in a small Las Vegas chapel with the Flying Elvises as guests, Jack still in his white illuminated jumpsuit and Betsy in her stolen showgirl outfit. Book by Andrew Bergman, from the 1992 film Music and Lyrics, Jason Robert Brown Directed by Gary Griffin Featured Cast: Tony Danza, Rob McClure, Brynn O’Malley, David Josefsberg, Nancy Opelm Matthew, Sean Allan Kritt. And all the flying Elvises At the Nederlander Theatre on Broadway Honeymoon in Vegas is really fun. Reviewed by Joyce Hauser  The curious Incident of the Dog in the Night-Time Alex Sharp – Photo by Joan Marcus  Fifteen-year old Christopher has an extraordinary brain; he is exceptionally intelligent but ill-equipped to interpret everyday life. When he falls under suspicion for killing his neighbor’s dog, he sets out to identify the true culprit, which leads to an earth-shattering discovery and a journey for him that will change his life forever. In the original novel Author Mark Haddon’s did not research asperger’s syndrome or autism. He deliberately didn’t want his novel to be a medical story but a plot about the central character who was a neophyte mathematician with some behavioral difficulties. Haddon never mentions words such as asperger’s or autism. He said his novel was about “difference, about being an outsider, about seeing the world in a surprising and revealing way”. Adapted by Simon Stephens from Haddon’s best-selling 2003 novel of coming-of-age is worth the price for thinking audiences. You’ll be thinking about the story days after seeing The Curious Incident of the Dog. The young Christopher, wonderfully played by Alex Sharp in his Broadway debut is an aspiring Sherlock Holmes and math prodigy. Christopher uncovers some uncomfortable truths about his family and the way adults lie to children and to each other. Although we are never told that Christopher has autism in so many words we are led to believe it is so. The stage setting is magnified by Bunny Christie's clever design, in which infinite possibilities and multiplying confusions are represented in squares and numbers, and a toy trains puffs around the stage. Christopher's gaze is so penetrating that it often makes you uncomfortable, and the play is equally difficult on parenting, messiness of life, and torment of a child who cannot bear to be touched, There are more surprises, enjoyment and sadness as the cast embodied by a winning ensemble (including the first-rate Ian Barford and Enid Graham as Christopher’s parents), and his personal nemesis. Together with Director Marianne Elliott The Curious Incident of the Dog In the Night-Time playing at the Ethel Barrymore Theatre on Broadway is a winner and my Choice of the Week. Reviewed by Joyce Hauser  MISERY The play is about Paul Sheldo, a famed novelist as Bruce Willis who is physically immobile since his car accident which leaves him with injuries that puts him in Bed or wheelchair for the entire performance. That is not the worst of it though it’s his mad rescuer who keeps him captive until she insists he finishes a book with an ending she likes. She turns out to be his biggest fan and has read all of his eight Novels. She is brutal with a smile on her face. Without a question this nut job keeps the audience on the edge with all the twists and turnes and what Annie will do next to make Paul cater to her demands. Two-time Emmy Award winner and Golden Globe Award winner Bruce Willis stars as Paul Sheldo opposite three-time Emmy Award winner Laurie Metcalf as Annie Wilkes in the new suspense thriller MISERY, written by two-time Academy Award winner William Goldman (The Princess Bride, Butch Cassidy and the Sundance Kid) who wrote the screenplay for the Academy Award-winning film, based on the acclaimed novel by Stephen King.    Directed by Will Frears (Omnium Gatherum), MISERY will play a strictly limited engagement beginning October 22, 2015 at the Broadhurst Theatre. MISERY will be produced by Warner Bros. Theatre Ventures (Mark Kaufman), Castle Rock Entertainment (Martin Shafer, Liz Glotzer) and Raymond Wu Reviewed by Joyce Hauser  THE RIVER After an excellent review in London, the team of the River are now on Broadway, with a limited engagement. The production will run for a short thirteen weeks at the Circle in the Square Theatre starring Golden Globe and Tony Award winning actor Hugh Jackman. The production will also star Laura Donnelly and Cush Jumbo. Jez Butterworth imagery in this new production of The River and his own splintering style affects one subliminally. The messages that he imparts to the environment says that things are not what they seem, and one may come out of the theater still seeing shock cuts and feeling slightly dissociated. It is a fish story but don’t worry you won’t need to know anything about fishing. It is a love story-- but I’m not quite sure if The Man is flirting, really is in love, or just a womanizer. The dialogue is dating talk as a form of preliminary sex play and verbal courtship rites. The man thrusts with leading questions, the girls (there are two) parries, and backs away touching their hair. Butterworth captures the awkwardness that reveals the pauses, the pretensions, the mannerisms which are the rhythms of the dance. The characters are identified in the program as the Woman and the Other Woman, while Mr. Jackman’s character is known only as the Man. And let me say what a Man! If he is in love he will give the audience a hands-on cooking lesson on how to cook the fish. Of course you have to bring the fish. You just sit back and enjoy and watch these super stars entertain you. I loved The River and Hugh Jackman at the Circle in the Square. Reviewed by Joyce Hauser  THE LAST SHIP Bravo to Sting for the music and lyrics for his new musical “The Last Ship”. With book by John Logan and directed by Joe Mantell the story begins in an English seafaring town of Wallsend, which revolves around the local shipyard, where the men of this close-knit community construct large and impressive vessels. Sting knows this life since this was where he grew up. As the men bang out the rhythm with their feet and glasses the audience also taps their feet. The Last Ship is down-to-earth and honest which makes the whole thing believable. The men are perfectly chosen to look and act the parts. The cast of the Last Ship/ Photo by Joan Marcus As a dream play Sting tries to reproduce the disconnected with apparently a logical form of a dream. Gideon sets out to travel the world, leaving his life and his love behind. When the traveler Gideon returns home fourteen years later, he finds the shipyard's future in grave danger and his childhood sweetheart engaged to someone else. Time and space do not exist; on a slight groundwork of reality, imagination spins and weaves new patterns made up of memories, experiences, unfettered fancies, absurdities and improvisations. Expecting to pick up where he left fourteen years ago, including a fourteen year old son and his sweetheart now almost engaged to another, he learns you can’t go back. Gideon and the men of Wallsend take their fate into their own hands though and build a towering representation of the shared dream that has defined their existence “The Last Ship”. This reviewer highly rcommends “THE LAST SHIP”.at the Neil Simon Theatre By Joyce Hauser  DISGRACED DISGRACED is the story of a successful Muslim-American lawyer and his wife -- an artist influenced by Islamic imagery -- enjoying their comfortable and successful life on New York’s Upper East Side.  When a co-worker and her husband come to dinner, what begins as polite table conversation explodes, leaving everyone’s relationships and beliefs about race and identity in chaos.   There’s a classical- enough story in Disgraced , and it’s almost (though not quite) all there, yet without the usual emphasis. The fact is Ayad Akhtar is dumping square conventions that don’t work anymore: the spelled-out explanations of motive and character, the rhymed plots, and so on—all those threadbare remnants of a well-made play is not there. Gretchen Mol, Hari Dhillonm Karen Pittman, and Josh Radnor. Photo : Joan Marcus The design team includes John Lee Beatty (set), Jennifer von Mayrhauser (costumes), Kenneth Posner (lighting), and Jill DuBoff (sound).  DISGRACED is produced by The Araca Group and Lincoln Center Theater Reviewed by Joyce Hauser  ON THE TOWN On Broadway, at The Lyric Theater “On The Town” is a delightful revival for all ages, sexes, and the need for a happy mood. It is Metro’s crackling stage revival of the musical, which is an all-purpose musical hard to fashion or find, especially with its unusually large stage, orchestra and chorus. On The Town has not been altered, it is still the same fast and dizzy thing that Adolph Green and Betty Comden, the scriptwriters, had originally wrote for the stage. It is the story of three sailors who get a twenty-four hour leave to see the sights and meet three girls. Photo: Ann Marcus  From the moment the curtain goes up in this facsimile of the Brooklyn Navy Yard with the three Sailors dancing and singing sharing the excitement of being in Brooklyn, New York you know this is going to be a winner. Tony Yazbeck, (Gabey) is sensational together with two buddies Jay Armstrong Johnsson and Clyde Alves along with a gifted backup of wonderful dancers, Accolades to Megan Fairchild in real life a Principal dancer with the New York City Ballet and for her role as Miss Turnstile. Tony Yazbeck meets and falls for our Subway Cinderella and the two are coupled in song and dance. Every one seems to be having a great time and you will also at “On the Town” On Broadway at the Lyric Theatre. With music by Leonard Bernstein Based on an idea by Jerome Robbins, Music director/Conductor, James Moore. Review by Joyce Hauser  YOU CAN’T TAKE IT WITH YOU Though solidly rooted in the Depression-era ‘30s, George S. Kaufman And Moss Hart’s Pulitzer prize-winning stage celebration on nonconformity as a way of life has become an apparently timeless favorite, spawning Broadway revivals. Kristine Nielsen as Penelope Sycamore & James Earl Jones as Martin Vanderhof in You Can't Take It With You The attraction of a rich man’s son for a beguiling plain-talker plunges him into a mind-altering introduction to her more than mildly eccentric family, the Sycamores. Headed by warmly crusty James Earl Jones as Grandpa Vanderhof (who hasn’t worked or paid taxes in thirty years; He chucked his thriving business when it stopped being fun And never looked back). The loony clan’s blood-relatives and Equally unique live-in guests keep their crumbling old house A twenty-four hour circus. Everyone does whatever they want whenever they want—no questions so long as they’re having fun. Alice (Rose Byrne)functions as this mad household’s Sole financial support; she’s the single link to the outside world they spend most of their time blissfully ignoring. Reality pervades, courtesy of glowering businessman Mr. Kirby (Byron Jennings) parental efforts to prevent their son from marrying into this walk-in lunatic asylum, Of course he eventually manages to see things the Sycamour’s way. You Can't Take It With You by Moss Hart and George S. Kaufman
Directed by Scott Ellis
Cast: James Earl Jones (Martin Vanderhof), Kristine Nielsen(Penelope Sycamore), Rose Byrne(Alice Sycamore), Elizabeth Ashley (The Grand Duchess Olga), Annaleigh Ashford (Essie Carmichael), Mark Linn-Baker(Paul Sycamore), Johanna Day (Mrs. Kirby), Crystal A. Dickinson(Rheba), Julie Halston(Gay Wellington), Byron Jennings (Mr. Kirby), Marc Damon Johnson(Donald), Will Brill (Ed Carmichael), Karl Kenzler (Henderson), Joe Tapper (a G-Man), Nick Corley (a G-Man), Austin Durant (a G-Man),Patrick Kerr( Mr. De Pinna),Reg Rogers(Boris Kolenkhov), Fran Kranz (Tony Kirby)
Original music by Jason Robert Brown
Set design:David Rockwell
Costume design: Jane Greenwood
Lighting design: Donald Holder
Sound design:Jon Weston
Hair and wig design: Tom Watson
Stage Manager: Jennifer Rae Moore
Running Time: 2 hours and 15 minutes, includes 2 intermissions
Longacre Theatre 220 West 48th Street (212) 239-6200  Review by Joyce Hauser  LOVE LETTERS At the Brooks Atkinson Theater on Broadway, Love Letters, a play by A. R. Gurney written in 1989 is still enjoying wonderful success. With its two-character cast who read the contents of the play sitting side by side while sharing a Desk The first pair of stars are Mia Farrell and Brian Dennehy , in this rotation of stars. Reading letters they wrote to each other for the past thirty years we learn about the life of Andy and Melissa. Before emails and texts, before emoticons and Facebook and Instagram, people communicated their daily lives, their casual observations and their silly jokes on paper, with pen or pencil. A.R. Gurneyis is one of the most prolific and produced playwrights in America. His work focused primarily on the issues and realities of middle-class American life and he has produced plays on the international theatre stages for more than 30 years. In 1958, Gurney wrote Love in Buffalo, which was the first musical ever produced at Yale. His first play, The David Show, was produced in New York in 1968. In 1970, Scenes from American Life received its world premiere at the Studio Arena Theatre in Buffalo. During the 1970s, he wrote two novels and several plays, including Children, which premiered in London, England in 1974. His breakthrough success came in 1982 with The Dining Room.  The play's co-stars after Farrow and Dennehy will be Carol Burnett and Brian Dennehy then Alan Alda and Candice Bergen. I don’t doubt they will all be sensational.  The early passages of Mellissa and Andy as children exchange brief, notes about birthday parties and later pass more intimate notes in class. (“Will you be my valentine?” Andy asks. “Unless I have to kiss you,” Melissa replies. Aww!) As their genteel names suggest, however, Andy and Melissa reside in the regimented world of the well-heeled Protestant class — her family is considerably wealthier — and soon they have been sent to separate private schools. A friendship that blossomed in proximity isn’t easy to sustain. Andy loves to write letters about anything and everything; Melissa doesn’t even much like to read them, and complains that he goes on too long.The teenage years bring the expected bursts of feelings, as Andy and Melissa attempt to sort out their feelings for each other. Ms. Farrow and Mr. Denney give wonderful performances. Even though the couple are separate as characters they feel closely bound by their inertia and frustrations. Gurney makes this ordinary melodrama with these two people’s lives through their letters poignant and comic. Although Love Letters is a fluke --- a borderline special case of a play that is entertaining because some talented people are given the chance to do something that is bitter and sweet and quite delicious. Love Letters By A. R. Gurney; directed by Gregory Mosher; sets by John Lee Beatty; costumes by Jane Greenwood; lighting by Peter Kaczorowski; sound by Scott Lehrer; technical supervision by Hudson Theatrical Associates; production stage manager, Matthew Farrell; company manager, Elizabeth M. Talmadge; associate producers, Jonathan Demar and Jeffrey Solis; general manager, Peter Bogyo. Presented by Nelle Nugent, Barbara Broccoli, Frederick Zollo, Olympus Theatricals, Michael G. Wilson, Lou Spisto, Colleen Camp, Postmark Entertainment Group, Judith Ann Abrams/Pat Flicker Addiss and Kenneth Teaton, in association with Jon Bierman, Daniel Frishwasser, Elliott Masie, Mai Nguyen, Paige Patel and Scott Lane/Joseph Sirola. At the Brooks Atkinson Theater, 256 West 47th Street, Manhattan, 800-982-2787, ticketmaster.com. Through Feb. 1. Running time: 1 hour 30 minutes. WITH: Brian Dennehy (Andrew Makepeace Ladd III) and Mia Farrow (Melissa Gardner). Reviewed by Joyce Hauser  Broadway’s Box Office Phenomenon has played a Phenomenal 26½ Years and 11,000 Performances to 16 Million Patrons (Photo: Matthew Murphy) The Phantom of the Opera is a great,, beautiful, old fashioned play and my intention in writing this review is to make you want to see this dramatic musical. It is as fresh today, it may seem fresher, as when it opened at her Majesty’s Theater in October, 1986 starring Michael Crawford as The Phantom and Sarah Brightman as Christine. Andrew Bridge wonderful lighting is still a tour de force in addition to the roof with its smoke filled view. Add a lake where the Phantom travels by gondola to a secret lair surrounded with candles.The uniform strength of the stars (Norm Lewis, Sierra Bogges, Jeremy Hays and Michele McConnell) together with the direction of Harold Prince gives this Phantom a world of fantasy and fun. And then add one sensational falling chandelier. A blast of magnificent stereophonic music will have you singing or humming as you exit this gothic melodrama. THE PHANTOM OF THE OPERA has won over 50 major theatre awards, including seven Tonys on Broadway and three Olivier Awards in the West End. It won the ‘Most Popular Musical Audience Award’, voted by the public, in the 2002 Laurence Olivier Awards and more. “Phantom” has played to over 130 million people in 27 countries and has grossed more than $5.6 billion worldwide — more than any film in history, including “Avatar,” “Titanic,” “Gone With the Wind” and “Star Wars. If you’ve seen The Phantom of the Opera it is time to see it again and if you haven’t seen it I guarantee you will love it at the Majestic Theatre on 44th Street on Broadway. The Phantom Of The Opera Music by Andrew Lloyd Webber Lyrics by Charles Hart Additional Lyrics by Richard Stilgoe Book by Richard Stilgoe and Andrew Lloyd Webber, based on the novel by Gaston Leroux Directed by Harold Prince Musical Staging and Choreography by Gillian Lynne Production design: Maria Björnson Lighting Design: Andrew Bridge Original Sound Design: Martin Levan Musical Supervision and Direction: David Caddick Musical Director: Kristen Blodgette Orchestrations: David Cullen, Andrew Lloyd Webber Current Principal Cast: Norm Lewis (The Phantom of the Opera);Sierra Boggess (Christine); Sara Jean Ford (Christine at certain performances;Mary Michael Patterson after 6/9);Jeremy Hays (Raoul);Michele McConnell (Carlotta Guidicelli); Laird Mackintosh (Monsieur Andre);Tim Jerome (Monsieur Firmin); Ellen Harvey(Madame Giry); Christian Sebek (Ubaldo Piangi); Polly Baird (Meg Giry) Running time: 2 1/2 including one intermission Majestic, 247 W. 44th St. (Broadway/8th Av), 239-6200 Reviewed by Joyce Hauser  ALADDIN Aladdin begins with a mischievous young man living in a large and busy town and the Princess Jasmine who is tired of being forced to remain in the palace that overlooks the city. As luck has it she sneaks out to the marketplace, where she accidentally meets Aladdin. Under the orders of the evil Jafar (the sultan's advisor), Aladdin is thrown in jail and becomes caught up in Jafar's plot to rule the land with the aid of a mysterious lamp. Legend has it that only a person who is a "diamond in the rough" can retrieve the lamp from the Cave of Wonders. Aladdin fits the bill but is that enough to marry the princess, who must (by law) marry a prince. Aladdin is great for young kids, but even adults will love the wonderfully amusing lines and the stage arrangements throughout the story. 
 Every scene of Aladdin is filled with excitement for every child sitting in the audience and don’t worry adults you won’t be bored. A Genie comes out of the lamp singing and dancing, A magic Carpet which has no appearance of strings holding it up flies around the stage and Monsters in bright colors and the cast adorned in wonderful costumes has fulfilled its promises that this is a winner. Aladdin Music by Alan Menken Lyrics by Howard Ashman, Tim Rice, Chad Beguelin Book by Beguelin based on the animated film Directed and choreographed by Casey Nicholaw Cast: Adam Jacobs (Aladin), Courtney Reed (Jasmine), James Monroe Iglehart (Genie),, Jonathan Freeman (Jafar), Brian Gonzales, Brandon O'Neill and Jonathan Schwartz (Babkak, Kassim and Omar), Clifton Davis (Sultan), Don Darryl Rivera (Iago); also Tia Altinay, Mike Cannon, Andrew Cao, Lauryn Ciardullo, Joshua Dela Cruz, Yurel Echezarreta, Daisy Hobbs, Donald Jones, Jr., Adam Kaokept, Nikki Long, Stanley Martin, Brandt Martinez, Michael Mindlin, Rhea Patterson, Bobby Pestka, Khori Michelle Petinaud, Ariel Reid, Jennifer Rias, Trent Saunders, Jaz Sealey, Dennis Stowe, Marisha Wallace and Bud Weber. Scenic designer Bob Crowley Lighting designer: Natasha Katz Costume designer: Gregg Barnes Running Time: 2 hours and 20 minutes New Amsterdam Theatre 214 West 42nd Street Reviewed by Joyce Hauser MACHINAL MACHINAL first opened on Broadway at the Plymouth Theatre on September 7, 1928 and closed after 91 performances. The original production was notable for featuring Clark Gable a few years before he became a movie star. He received good reviews. That was when woman’s roles were marked by subservient and docile behavior towards men. Now 2014 the role of the woman in Machinal remains the same, a picture of a scratched soul. One may assume that her sad, deceptively placid face is an illusion of a badly used Madonna, innocent soon to be a fallen woman. Inspired by the infamous 1927 murder trial of Ruth Snyder, Machinal is the drama by American journalist and playwright Sophie Treadwell. The story is focused on a Young Woman (Rebecca Hall), a stenographer in a male-dominated world of the 1920s. The young woman whose foolishly romantic ideas on life and love cause her to become dissatisfied with her humdrum husband (Michael Cumpsty) and the circumstances of her married life. This masterpiece of realism is an in-depth psychological study of a bored, hyper, restless woman whose romantic fantasies and yearning lead her to seek diversions from the monotony of her life. Her well-meaning husband, a mediocre and unimaginative clod without insight, is unable to understand, console or satisfy the terrible needs of his wife. Restless and unfulfilled in a passionless marriage and unwanted motherhood, she finds her only joy in the form of an illicit love affair. But hen reality sets in and she must return to her routine existence, she'll go to any lengths to regain what she thinks is the most important thing, HER FREEDOM.  Machinal is a personal and social look at the frustrations that can come from a life unlived. Following an affair with a younger man she is driven to murder her husband. The Cast At the Roundabout Theatre Company (Todd Haimes, Artistic Director) at the American Airlines Theatre starring the Golden Globe nominee Rebecca Hall as "Young Woman" in this new Broadway production of Machinal, by Sophie Treadwell, directed by Lyndsey Turner. The cast will include Suzanne Bertish as "Mother", Michael Cumpsty as "Husband",Morgan Spector as "Lover" and Damian Baldet, Ashley Bell, Jeff Biehl, Arnie Burton, Ryan Dinning, Scott Drummond, Dion Graham, Edward James Hyland, Jason Loughlin, Maria-Christina Oliveras, Daniel Pearce, Henny Russell, Karen Walsh,Michael Warner. Reviewed by Joyce Hauser  THE BOOK OF MORMON Trey Parker and Matt Stone of  the TV series “South Park’s” fame have now come up with a new Broadway musical “The Book   of Mormon , a tough, funny satirical tale of two young Mormons’ religious journey to Uganda. It is an erratic episodic play full of pleasures of the unexpected.  It moves so fast it is over before you have time to think about what else compares with it. The play has so much spirit that you keep laughing—and without discomfort, because all the targets should be laughed at. The Book of Mormon stands alone for being the funniest, talented, and irreverent play that hit Broadway.  Andrew Rannells and Josh Gad (Photo: Joan Marcus) After fulfilling their studies to become missionaries the chorus of 19- year old boys are given assignments on where they will practice. Each Latter-Day Saint boy is paired with another to travel for their two-year mission. Elder Price (Andrew Rannells ) dreamed of being sent to Orlando and certainly not with his misfit partner Elder Cunningham (Josh Gad).  Cunningham is an insecure, overweight, irritating liar, while Elder Price is a devout, enthusiastic, handsome, pompous, over-confident fellow. But alas, they are sent  to Uganda charged with saving souls of murderous warlords, Aids, Poverty and natives certainly not interested in being saved. It’s not Orlando as Price soon finds out. The pair are terrific and destined for all the theater awards. Together, Robert Lopez , Matt Stone and Trey Parker make me wonder where such talent and creativity comes from. That is for further discussion. I gurantee you will leave the Eugene O’Neil Theatre  saying WOW. Terrific performances are also given by Brian Tyree Henry as the war lord  Michael Potts as Mafala Hatimbi, and the vivacious Nikki M. James as his daughter. James delights us with her solo and again with Gad, as they give a whole new meaning to being baptized. It’s not so much about religion unless that means God said you must laugh. It is too funny for anyone to feel offended. Leave the children home unless you consider 18 a child and put a laugh in your life and see “The Book of Mormon”. 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