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Monday, April 14, 2008 at midnight (Broadway Time)

Nostalgia Is What It Used to Be, by Jeremy McCarter

On a newly experimental Broadway, the naïvely optimistic South Pacific harks back to a different age.

Linked From New York Magazine

My Fair Lady, reviewed by Bob Verini

While most productions of My Fair Lady are awash in class, the 2001 National Theater of Great Britain revival overflows with class consciousness. Original helmer Trevor Nunn unearths, within Lerner and Loewe's timeless tuner of transformation, a pertinent social critique harking back to Shaw's Pygmalion original. Part of an ongoing U.S. tour that so far has bypassed Gotham, production is a more character-driven, deeply felt My Fair Lady than most (and more so than the 1964 film). But at the price of a certain heaviness, material's essential joie de vivre is offset by a cold center.

Linked From Variety Subscription

Mark Twain's Blues, by Steven Suskin

The final chapters of Adventures of Huckleberry Finn have long sparked controversy among Twain scholars, who concluded that the author, facing writer's block, tacked on a contrived ending that put a damper on what is nevertheless considered the first great American novel. That thesis is the starting point for Walt Stepp's Mark Twain's Blues, which has transferred Off Broadway after a limited engagement in February at Altered Stages.

Linked From Variety Subscription

A Roundabout Route to A Catered Affair, by Wendy Weisman

In 2004, composer John Bucchino received a fan letter from an unexpected source: the performer and polymath Harvey Fierstein. Mr. Bucchino, flattered by the attention, suggested they meet. Little did he know th…

Linked From www2.nysun.com

Onstage & Backstage, by Seth Rudetsky

"Bravas" for Kristin and Matthew

Linked From Playbill

Hey, Old Friend: Glory Days Creators Write What They Know, by Kenneth Jones

When Nick Blaemire and James Gardiner were infants, La Cage aux Folles, Sunday in the Park With George, and Big River were also coming into the world. No one would foresee that within 23 years, all three musicals would enjoy Broadway revivals and that young Blaemire and Gardiner—who had been pals since their high school years in Maryland—would be musical theatre writers with a Broadway show of their own.

Linked From Playbill

The Playboy Was a Spy, by Stephen Koch

"Celebrity was wonderful cover," Noël Coward said near the end of his life. "My disguise would be my own reputation as a bit of an idiot ... a merry playboy." In 1973, a month before he died, the epitome of f…

Linked From The New York Times Subscription

Examining the Economics of Off Off Broadway, by Campbell Robertson

This week the New York Innovative Theater Foundation released what is intended to be the first of several studies of Off Off Broadway economics.

Linked From The New York Times Subscription

Give Their Attitude to Broadway, by Zachary Pincus-Roth

The writers of the score for the musical Cry-Baby have gone from Fountains of Wayne and The Daily Show to a whole new stage.

Linked From The New York Times Subscription

A First-Timer Makes Rhett and Scarlett Sing, by Donna and David Kornhaber

Margaret Martin is, to say the least, a highly unlikely choice to write the book, lyrics and music for a major West End musical version of Gone With the Wind.

Linked From The New York Times Subscription

Broadway's Cookie, Un-Sugarcoated

Faith Prince is returning to Broadway in A Catered Affair, a risky show even by the standards of an insanely risky industry.

Linked From The New York Times Subscription

Dramatic Power Couple: Theater Is Their Castle, by Charles McGrath

The director Rupert Goold and his wife, the actress Kate Fleetwood, are working together in the Broadway production of Macbeth.

Linked From The New York Times Subscription

A Thing Called Hope: The Timely Return of South Pacific, by John Lahr

By the time South Pacific closed its run on Broadway, after five years and nineteen hundred and twenty-five performances, it had done its work in the world. But the show's defining impact was not financial; it was subliminal.

Linked From The New Yorker Subscription

On the Record, by Steven Suskin

Jim Dale and Glenn Close in Busker Alley and a Newly-Recorded Vernon Duke

Linked From Playbill

Peter Hall's Bath Season to Feature James, Ibsen, Nichols and Bennett

Linked From Playbill

Four Special Helen Hayes Recipients Announced, Including Jacobi and Taffety Punk Theatre

Linked From Playbill

Rent Tony Winner Heredia to Star in Avarice Reading

Linked From Playbill

Armstrong, Burden, Maceyak and Perlow Will Join Williamson for Pure Heaven

Linked From Playbill

Gone with the Wind Cancels April 15 Preview; Director Nunn at Work

Linked From Playbill

NEO4 Concert to Feature Arden, Champlin, Noll, Osnes, Sapp and Steggert

Linked From Playbill

Tergesen Completes Cast of Off-Broadway's Good Boys and True

Linked From Playbill

Karen Akers Will Move On to the Algonquin, May 13–June 14

Linked From Playbill

Class in Session: Rudetsky Presents Broadway 101, with Groff, McArdle and Murney, April 14

Linked From Playbill

Butz, Ebersole and Bell to Announce Drama League Award Nominations

Linked From Playbill

Listening Is Waiting: Passing Strange Records Live Cast Album at the Belasco April 14

Linked From Playbill

South Pacific Company Records CD April 14; Recording Due in May

Linked From Playbill

The New Century, With Lavin, Houdyshell and Bartlett, Opens Off-Broadway April 14

Linked From Playbill

Jolly Roger, thanks to May

She's still at it, and today's theatergoers are going to be mighty glad she is. Almost a half-century ago, Elaine May was spoofing telephone calls. Now, at the George Street Playhouse in New Brunswick, May shows she's kept up with the technological times in the world premiere of her winning comedy, Roger Is Dead.

Linked From NJ.com

Oh, Happy Theatergoers

You know what expression you don't much hear any more? "The Fabulous Invalid." It was a term often used in the early part of the last century to describe theater as an ailing endangered species—please take you medicine, dear stage—but something that always seemed to survive, no matter what. And if we could pick one musical to typify the fabulous invalid, wouldn't it have to be Candide?

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