The Nance On Broadway, A Review
The Nance On Broadway Broadway used to be awash in larger than life comic talent – Danny Kaye, Phil Silvers, Zero Mostel, the list goes on. Today we have Nathan Lane in The Nance on Broadway and we should be grateful we do. Mr. Lane’s considerable talents are being lavished on The Nance at Broadway’s […]
One Man, Two Guvnors on Broadway, A Review
One Man, Two Guvnors One Man, Two Guvnors, currently packing them in at the Music Box, is billed as “based on” The Servant of Two Masters by Venetian playwright Carlo Goldoni. But this show, fresh from a sold out run at London’s National Theatre, is not so much an adaptation of Goldoni’s work as it is a […]
Jerusalem on Broadway, a Review
Rylance is an actor of astonishing idiosyncrasy, as anyone who saw him in Boeing, Boeing, or La Bete, or as Richard II at the Globe will readily appreciate. Rylance’s hallmark is making choices no other actor would dream of and, improbably, making them work beautifully. Ironically his larger than life Rooster Byron is his most straightforward interpretation in years. Mark Rylance quite simply is Rooster Byron. His embodiment is so complete that it leaves no room for reinterpretation. It is hard to imagine the play being mounted without him.
Virginia Woolf at Arena Stage, Washington, DC
What the play has going for it, of course, are its protagonists, George and Martha, who let us wallow in the voyeuristic schadenfreude of watching a relationship far more dysfunctional than any of ours could possibly be. Albee certainly knew how to create powerful moments. It is also an opportunity for first-rate actors (if you’re lucky enough to have them) to pull out all the stops and really chew the scenery.
La Bete on Broadway, a Review
Written in rhyming couplets in the manner of Moliere, set in Moliere’s France, and dealing with the sort of cultural hypocrisies that were Moliere’s bread and butter, Hirson’s play seems uncannily of the moment nearly twenty years on, with much to tell us about the current debased state of our entertainment culture. (Are you reading this Snooki?) Perhaps that is the definition of great dramatic art.
Cirque du Soleil’s ‘O’ at Bellagio in Las Vegas – A Review
Cirque du Soleil’s “O” is one of the many well known shows on the Las Vegas Strip produced by the French Cirque Du Soleil production company. This show has been described as intense, otherworldly, and ethereal.
Like some other Cirque Du Soleil shows, O Las Vegas has lots of diving, synchronized swimming, and water based performances. Bellagio’s “O” continues to be one of the Strip’s best selling shows and one of the most unique experiences in the city of Las Vegas.
Cirque du Soleil’s ‘Ka’ at MGM Grand in Las Vegas – A Review
Ka is another fantastic production by the famous Cirque du Soleil acrobatic company. With an ongoing performance at the MGM Grand Hotel and Casino on the south Strip, audiences are treated to a true spectacle of art at Ka.
This show expertly combines martial arts, puppetry and acrobatics into a thrilling performance for all. Ka’s elements are a masterpiece that tell the story of Imperial Twins who are separated by an attack on their palace.
The Lion King on Broadway, A Review
“The Lion King” tells the tale of a murdered king, his feckless son, and a usurping uncle. Shades of Shakespeare! But this is a Disney production and the real source is a Disney animated film of the same name and anyone who says Disney stole the plot from a Japanese animated film is itchin’ for a fight. But that’s all beside the point. The wafer-thin and perfectly harmless story is just an excuse for a very enjoyable production.
Superior Donuts On Broadway, A Review
Arthur Przybyszewski (his unpronounceable name is a running gag) is an aging and lonely child of the sixties running his fading family donut shop in an iffy neighborhood of Chicago. Via rather awkward, to-the-audience, interior monologues, we learn he carries a burden of guilt over long ago decisions and his dead father’s disdain.
“Wit” Off-Broadway, A Review
Actually, I was one of the few dissenting voices on the original production. I felt that the central character’s empty personal life was never dealt with dramatically and left a hollow space where the play’s heart should have been. On top of that, the key roles were played too much on one note for my taste, emphasizing the intellectual rigor of the piece but sacrificing the human connection that would make us care for the people on stage.