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New York
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Broadway Review: SMASH (Imperial Theatre)
A PLATE OF MASHED SMASH Let me be clear. I never saw the television series Smash. I know nothing about the series other than that it focused on a community theater working on a show about the life of Marilyn Monroe. So I had no expectations when I arrived at the Imperial Theatre to see…
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Off-Broadway Review: THE CHERRY ORCHARD (Donmar Warehouse at St. Ann’s Warehouse)
CHERRIES WITH A FEW PITS Anton Chekhov’s final play, The Cherry Orchard, is a masterwork of dramatic irony. It was written in 1903 as a dark comedy but it was always more akin to a tragedy, especially with the original Stanislavski’s direction full of psychological realism and emotional truth. A new wild version, written &…
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Off-Broadway Review: GLASS. KILL. WHAT IF IF ONLY. IMP. (Quartet of Caryl Churchill Plays at The Public Theater)
KNEEL AT THE CHURCH OF CHURCHILL A drum roll begins each act and ends with a cymbal crash. Paired with the red front curtain and chaser lights outlining the proscenium arch, one might brace for another revival of Cabaret. But when the curtain opens at The Public‘s Martinson Theater, it becomes instantly clear we are…
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Broadway Review: THE LAST FIVE YEARS (Hudson Theatre)
IT WON’T LAST FIVE YEARS, BUT IT WAS NEVER MEANT TO (THE RELATIONSHIP AND THE BROADWAY MUSICAL) Although the traditional wedding vow includes the pledge to stay together “‘til death do you part,” sometimes the love and compatibility die first. In some old stories of romance, where marriage is the be-all and end-all, it all…
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Broadway Review: GOOD NIGHT, AND GOOD LUCK (Winter Garden Theatre)
GEORGE CLOONEY’S SENSE OF DECENCY Where are our heroes when we need them?! It takes a Hollywood actor to give us one in these traumatic times. Trouble is, that hero comes from the 1950s. George Clooney George Clooney has had a lifelong respect for truth, justice, and “the facts.” Son of a news anchorman in…
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Off-Broadway Review: IRISHTOWN (Irish Rep)
FIERCE CRAIC A really enjoyable, light-hearted, raucous comedy just opened at The Irish Repertory Theatre: the world premiere of Irishtown by Ciara Elizabeth Smyth, directed by Nicola Murphy Dubey. In a building on the outskirts of Dublin, The Irishtown Players, three actors, a playwright and a director, are rehearsing a new play, a sexual assault…
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Broadway Review: SMASH (Imperial Theatre)
MAKING THE IMPLAUSABLE APPLAUSEABLE, SMASH IS A WILD, WACKY, WONDERFUL WOW “S” is for “splashy”; “M” is for “Marilyn Monroe”; “A” is for “audience-pleasing”; “S” is for “snarky”; “H” is for “hilarious.” Put ’em all together and that’s Smash, the broad Broadway musical comedy and the story of the Broadway musical comedy within that Broadway…
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Dance Review: AMOUR, ACIDE ET NOIX (Daniel Léveillé Dance at NYU Skirball)
THE NAKED TRUTH In Amour, Acide et Noix, Canadian choreographer Daniel Léveillé presents a stark and unflinching meditation on the human form—one that reduces dance to its most essential components. Staged on a bare black floor under austere white lighting, the 60-minute modern dance work is minimalist in both visual and choreographic design. Gone are…
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Off-Broadway Review: SMILE (J2 Spotlight at AMT Theater)
GRINS, GOWNS, AND GRIT: A WINNING SMILE SASHAYS BACK ONSTAGE In the year 1919, the Ziegfeld Follies on Broadway featured an ode to female finery as a bevy of beauties graced the stage to the strains of the Irving Berlin song “A Pretty Girl Is Like a Melody.” The next year, Congress ratified an amendment…
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Concert Review: AN EVENING WITH T BONE BURNETT (The Town Hall in New York City)
T Bone Burnett’s intimate concert Saturday night at Town Hall was a terrific tutorial in storytelling. With T Bone’s anecdotes and voice, both nostalgic and timeless, and the musicians playing with such empathy and energy, this was an event more than a concert, with a narrative woven through the tapestry of Americana, blues, and folk. A…
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Dance Review: MARTHA GRAHAM (Program C at The Joyce)
The Martha Graham Dance Company is back at The Joyce for its 99th season with a new dance concert titled Dances of the Mind, featuring 11 works across three programs through April 13, 2025. I saw Program C, and it was a moving, powerful experience. Janet Eilber, the exquisite Artistic Director of the dance company,…
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Off-Broadway Review: I’M ASSUMING YOU KNOW DAVID GREENSPAN (Atlantic Stage 2)
MR. GREENSPAN, PARTY OF FOUR Here’s a one-of-a-kind, one-person, one-act play in which one man plays four women—simultaneously—without ever leaving the stage. Three (sometimes all four) of these women are present in the same scene for a good chunk of the time. Our intrepid performer simply pivots his body as the women speak, often trading off…
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Off-Broadway Review: A MOTHER (World Premiere with Jessica Hecht at Baryshnikov Arts Center)
Brecht once said, “In the dark times, will there also be singing? Yes, there will be singing. About the dark times.” This must have been the inspiration for A Mother, a truly amusing collection of heartfelt life snippets by writer Neena Beber, co-conceived with actress Jessica Hecht, now playing at Baryshnikov Arts. It is not…
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Off-Broadway Review: HUMPTY DUMPTY (Eric Bogosian New York Premiere at The Chain Theater)
LIFE IS LIKE A CARTON OF EGGS; YOU NEVER KNOW WHAT YOU’RE GOING TO GET UNTIL YOU CRACK ONE OPEN How do we cope with the loss of control in a crisis? Imagine two couples (one from Manhattan, the other from Los Angeles) that meet for an idyllic winter vacation in a secluded cabin Upstate…
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Broadway Review: BOOP! THE MUSICAL (Broadhurst Theatre)
HERE’S THE SCOOP ON BOOP! ENDEARINGLY CUTE, ASTUTE AND A HOOT Some things are meant to last. Cartoon character Betty Boop has been around for 95 years and has just been rejuvenated—as youthful, spirited, spunky, sprightly, spit-curled and curvy as ever. The new Broadway musical, simply called BOOP!—which opened last night at the Broadhurst Theatre—presents…
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Concert Review: ALISA WEILERSTEIN, THOMAS LARCHER & SCHUMANN (NY Phil; Nikolaj Szeps-Znaider, conductor)
A DREAM TURNS TO DARKNESS AND THEN INTO THE LIGHT At 11 AM on April 4, the NY Phil matinee cracked open with a live wire performance in a world premiere that left me breathless, if not a little rattled. Alisa Weilerstein is, without exaggeration, the most ferocious, almost feral, cellist I’ve ever seen live….


















