Wednesday, October 5, 2022

Suzan-Lori Parks Is on Broadway, Off Broadway and Everywhere Else by Michael Paulson

The first African American woman to win the Pulitzer Prize in drama has four shows this season. “If you can hear the world singing, it’s your job to write it down,” she said.

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Tuesday, October 4, 2022

Charles Fuller, Pulitzer Winner for ‘A Soldier’s Play,’ Dies at 83 by Neil Genzlinger

He was the second Black playwright to win the award and later adapted the play into an Oscar-nominated film, “A Soldier’s Story.”

SOURCE: The New York Times Subscription at 06:33PM

Roma Tell Their Stories in a Dance-Theater Work From Berlin by Brian Seibert

DorkyPark’s “Open for Everything,” coming to the Brooklyn Academy, is mostly light and playful, energized by Roma musicians.

SOURCE: The New York Times Subscription at 02:08PM

In ‘Heart Strings,’ the Ties That Bind a Family (and a Culture) by Laurel Graeber

Atlantic for Kids’ new play explores sibling relationships, using the delicate weavings of a Hawaiian craft.

SOURCE: The New York Times Subscription at 10:13AM
Monday, October 3, 2022

‘Cost of Living’ Review: Worth Its Weight in Gold by Maya Phillips

Subtle connections bridge the worlds of two caregivers in Martyna Majok’s 2018 Pulitzer Prize-winning play, making its Broadway debut.

SOURCE: The New York Times Subscription at 09:19PM

As ‘Come From Away’ Closes, a Newfoundlander Heads Back Home by Michael Paulson

The Canadian actress Petrina Bromley has been in the cast during the show’s surprise hit run on Broadway. It resonated because “it’s about kindness,” she says.

SOURCE: The New York Times Subscription at 06:19PM

‘Mud/Drowning’ Review: 3 Fools, 3 Kooks, 2 Bizarre Plays by Maya Phillips

A new production of two of María Irene Fornés’s short plays, “Mud” and “Drowning,” tries to accentuate the weirdness of the playwright’s worlds but too often overreaches.

SOURCE: The New York Times Subscription at 02:43PM

Andrew Lloyd Webber’s ‘Bad Cinderella’ to Open on Broadway in March by Michael Paulson

The musical, which was known simply as “Cinderella” during a previous run in London, is a new adaptation of the classic fairy tale.

SOURCE: The New York Times Subscription at 10:33AM
Sunday, October 2, 2022

Review: In Stoppard’s ‘Leopoldstadt,’ a Memorial to a Lost World by Jesse Green

The Viennese Jewish family at the heart of this new Broadway production thinks it is too assimilated to be in danger when the Nazis arrive. They are wrong.

SOURCE: The New York Times Subscription at 10:33PM

Review: Revisiting ‘Baldwin and Buckley at Cambridge’ by Alexis Soloski

Elevator Repair Service, the experimental theater company, brings to life the 1965 debate between James Baldwin and William F. Buckley Jr.

SOURCE: The New York Times Subscription at 09:19PM
Friday, September 30, 2022

Review: It’s That Old Hard Shoe, and an Irish Dance Reunion by Brian Seibert

Seán Curran Company and Darrah Carr Dance present “Céilí,” a pleasant show that doesn’t break much new ground.

SOURCE: The New York Times Subscription at 03:16PM

Review: At Fall for Dance, Resilience Takes Center Stage by Gia Kourlas

The City Center festival continued with Kyiv City Ballet, a Christopher Wheeldon duet and a daring work for Dayton Contemporary Dance Company.

SOURCE: The New York Times Subscription at 01:12PM

‘American (Tele)visions’ Review: Tune In, and Buckle Up, for Family Drama by Maya Phillips

In Victor I. Cazares’s play, Walmart is a haven for a family of undocumented Mexican immigrants, but it comes with a cost.

SOURCE: The New York Times Subscription at 11:33AM

Review: In ‘Textplay,’ Stoppard and Beckett Get Snarky, FWIW by Jesse Green

An imaginary electronic conversation between the two playwrights falls somewhere between a ❤️ and a 🤷.

SOURCE: The New York Times Subscription at 09:07AM
Thursday, September 29, 2022

Review: In Lea Michele, ‘Funny Girl’ Has Finally Found Its Fanny by Jesse Green

The “Glee” star is stupendous in the role Barbra Streisand made famous, turning the 1964 musical into something better than we know it to be.

SOURCE: The New York Times Subscription at 01:33PM

Review: City Ballet Dresses Up for Another Fashion Letdown by Gia Kourlas

With music by Solange and ballets by Kyle Abraham, Gianna Reisen and Justin Peck, the company’s annual fashion gala prizes costumes over dancing.

SOURCE: The New York Times Subscription at 01:21PM

Yvonne Rainer, a Giant of Choreography, Makes Her Last Dance by Gia Kourlas

With more than a half-century of work behind her, Rainer goes out swinging with “Hellzapoppin’: What About the Bees?,” which takes on themes of race and resistance.

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In Paris Plays, What It Would Be Like if Shakespeare Was Female by Laura Cappelle

Several Paris theaters geared up to open their seasons with the most famous English playwright. How would the plays be tackled if a woman’s name were attached to them?

SOURCE: The New York Times Subscription at 06:25AM

The Syncopated Sounds of Old San Juan Hill at the New Geffen Hall by Seth Colter Walls

Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.

SOURCE: The New York Times Subscription at 05:00AM
Wednesday, September 28, 2022

Rita Gardner, an Original ‘Fantasticks’ Star, Is Dead at 87 by Neil Genzlinger

In 1960 she originated the lone female role in an Off Broadway show that became part of theater history thanks to a record-setting run.

SOURCE: The New York Times Subscription at 04:43PM

‘Bold Enough to Go Full-Tilt’: Gabby Beans Is Playing to the Balcony by Juan A. Ramírez

The actress, a Tony nominee for “The Skin of Our Teeth,” is bringing her sharp eye for comedy to Atlantic Theater Company’s production of “I’m Revolting.”

SOURCE: The New York Times Subscription at 03:33PM

Wendell Pierce Steps Into ‘Death of a Salesman’ by Alexis Soloski

A Broadway revival of “Death of a Salesman” has a Black lead for the first time, giving Pierce a chance to step into a role he was “born to play.”

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Book Review: ‘The Whalebone Theatre,’ by Joanna Quinn by Alexandra Jacobs

Joanna Quinn’s “The Whalebone Theatre” breathlessly follows a trio of British youngsters from frolics on the beach to service and spycraft.

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Tuesday, September 27, 2022

‘Sesame Street: The Musical’ Review: Everything’s A-OK by Naveen Kumar

Jonathan Rockefeller’s Off Broadway production blends the charm and wit of the show’s early days with more modern characters.

SOURCE: The New York Times Subscription at 02:07PM
Sunday, September 25, 2022

Review: The Inescapable Vibrations of ‘Violet’ by Brian Seibert

This 2011 work by the American-born, Europe-based choreographer Meg Stuart feels overextended.

SOURCE: The New York Times Subscription at 04:02PM

Fall for Dance Review: Some Tap, a Pas de Deux and a Monastic Chorus by Siobhan Burke

The annual smorgasbord at New York City Center features dancers from Music from the Sole, the Bavarian State Ballet and Alvin Ailey.

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A Show With a Cryptic Cryptic Title but No Code to Crack by Elisabeth Vincentelli

“300 el x 50 el x 30 el,” the Belgian troupe FC Bergman’s ambitious theatrical installation, will open BAM’s Next Wave festival with an elaborate set that recreates a rural settlemen…

SOURCE: The New York Times Subscription at 09:13AM
Friday, September 23, 2022

Love and Death in Paris, With an Assist From Star-Crossed Verona by Roslyn Sulcas

Benjamin Millepied’s L.A. Dance Project presents a “Romeo and Juliet” with same-sex lovers. And at Paris Opera Ballet, Alan Lucien Oyen goes Bauschian.

SOURCE: The New York Times Subscription at 04:26PM

Is Little Amal Getting Lost in New York? by Laura Collins-Hughes and Amir Hamja

The hottest celebrity in town right now is an enchanting 12-foot-tall Syrian refugee puppet. She’s drawing masses of admirers, but that’s not always a good thing.

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Review: Dressed Up in Saran Wrap and Ready to Dance by Gia Kourlas

The South African choreographer Robyn Orlin mixes culture and politics with the help of the stunning performance artist Albert Silindokuhle Ibokwe Khoza.

SOURCE: The New York Times Subscription at 01:35PM

Lynn Nottage’s ‘Clyde’s’ Is the Most-Staged Play in America by Michael Paulson

An annual survey, suspended during the pandemic, resumes and finds theaters nationally doing fewer shows and torn between escapism and ambition.

SOURCE: The New York Times Subscription at 01:25PM

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