American Airlines Theatre
227 West 42nd St. between Broadway & Eighth Ave.
Tuesday - Sunday through November 29, $67-$137
As the Roundabout’s Broadway revival of Harold Pinter’s Old Times opens, Deeley (Clive Owen) is man-spread on a fashionably modern chair, Kate (Kelly Reilly) lies on a matching couch, and Anna (Eve Best) stands between them, facing a large, rectangular block of ice, her back to the audience at the American Airlines Theatre. It looks as if something happened the night before, something no one wants to remember. “Dark,” Kate says to Deeley. Indeed, Old Times is dark. And this being Pinter, don’t expect there to be much light shed on exactly what might have happened the night before, or at all, during this seventy-minute journey into a never-defined past or present. Early on, Kate confesses to Deeley, her husband, that Anna was her best and only friend, that they once lived together, but she also admits, “I hardly remember her. I’ve almost forgotten her.” Meanwhile, Anna raves about the two women’s relationship in great detail, with verve and excitement, but she adds, “There are some things one remembers even though they may never have happened. There are things I remember which may never have happened but as I recall them so they take place.” They all discuss having seen Carol Reed’s IRA noir masterpiece, Odd Man Out, and at one time or another in the play, each of the characters becomes the “odd man out” as the other two bond by telling old stories, singing American classics, or debating a possible previous meeting. “Some people throw a stone into a river to see if the water’s too cold for jumping,” Anna says, continuing, “others, a few others, will always wait for the ripples before they will jump.” There are plenty of ripples in Old Times, which has a backdrop of ever-widening concentric circles that evoke the ripples in a lake, or the rays of a pitiless sun. Christine Jones’s (American Idiot, The Green Bird) set also features black clumps of dried lava (“I live on a volcanic island,” Anna says), a sharp counterpoint to the huge block of ice and the mural of rippling water or blazing sun, echoing the characters’ ability to go from hot to cold and back again in an instant.
It’s been forty-four years since Old Times was last seen on Broadway, in its Great White Way debut with Robert Shaw, Rosemary Harris, and Mary Ure, and the Roundabout previously revived it in 1984 with Anthony Hopkins, Jane Alexander, and Marsha Mason. It is considered one of Pinter’s middle-period memory plays, which also include 1974’s No Man’s Land and 1978’s Betrayal, each of which has been revived on Broadway the last two years, the former a huge hit, the latter a major disappointment. Douglas Hodge, who has appeared in and directed many of Pinter’s works over the past two decades, makes his Broadway directorial debut here with a sure hand, keeping things appropriately mystifying, obscure, and utterly compelling, although the strobe lights and the onetime rotation of the stage seem unnecessary. Owen (A Day in the Death of Joe Egg, Closer) and Reilly (After Miss Julie, Russian Dolls) make strong impressions in their Broadway bows, he giving Deeley more than a little smarm, she imbuing Kate with an uncomforting yet sublime mystery, but Best, who was nominated for a Tony in 2008 for her performance as Ruth in Pinter’s The Homecoming, is an absolute whirlwind, dominating the stage in her gorgeous, sexy white pantsuit, making confident declarations with a commanding physicality. She mesmerizes even with a casual swipe of the floor with her bare foot. There are various theories exploring what Old Times is really about; perhaps Kate and Anna are two parts of the same person, or maybe one of the women has killed the other, or maybe they’re all dead, lingering in a kind of way station. Pinter never said, so we’ll never be sure. But we do know that there may be no one better at evoking the prismatic nature of time and memory and the brilliant refractions of human relationships than the iconoclastic British playwright.
September 7-20, buy one ticket, get one free
Tickets are now on sale for the summer edition of Broadway Week, which runs September 7-20 and offers theater lovers a chance to see new and long-running shows for half-price as well as have an opportunity to pay a $20 fee to upgrade to better seats. Twenty-two shows are participating, but they’re already starting to sell out, with the most popular selections being Aladdin, Fun Home, and The Lion King. Among the other choices are The Curious Incident of the Dog in the Night-Time, An American in Paris, Hand to God, Hedwig and the Angry Inch, The King and I, A Gentleman’s Guide to Love and Murder, Kinky Boots, Something Rotten!, the rebooted Les Misérables, Matilda the Musical, Spring Awakening, and such longtime mainstays as Wicked, Jersey Boys, Chicago, and The Phantom of the Opera. You can look all you want, but the two-for-one list still does not include The Book of Mormon, unfortunately.
40th to 42nd Sts. between Fifth & Sixth Aves.
Thursday, August 6, free, 12:30
Series continues Thursdays through August 13
The annual summer Broadway in Bryant Park series features performances Thursday afternoons at 12:30 from several current and upcoming Broadway musicals, and August 6 has a real treat in store, a sneak peek at Allegiance, which tells the story of George Takei’s childhood, spent in part in a Japanese internment camp in California; the show begins previews on October 6 and stars Lea Salonga, Telly Leung, and social media sensation Takei. Also on the August 6 bill is the Tony-winning hit A Gentleman’s Guide to Love and Murder, the new Amazing Grace, the Shakespeare spoof Something Rotten!, and the off-Broadway revival of Ruthless! The series concludes August 13 with selections from Once Upon a Mattress, The King and I, Dames at Sea, Spring Awakening, and Mrs. Smith’s Broadway Cat-Tacular!
208 West 41st St. between Seventh & Eighth Aves.
Tuesday - Sunday through December 20, $65-$139
As the new Broadway musical Amazing Grace opens, a man (Tony winner Chuck Cooper) stands at the side of the stage and announces, “There are moments when the waves of history converge. When the transformation of one man can change the world,” declaring, “It is a story that must be told.” There may indeed be a fascinating tale behind John Newton, the writer of the title song, a beloved Protestant hymn, but this is not necessarily it. Tony nominee Josh Young (Jesus Christ Superstar, Evita) stars as Newton, the ne’er-do-well son of the regal Captain Newton (Tony nominee Tom Hewitt), an important businessman and slave trader in the port town of Chatham, England. John has just returned from a stint on the high seas, where he meets up on the docks with Mary Catlett (Erin Mackey), his “dearest friend in the world,” and is chastised by his father, who takes away his son’s mariner’s license and demands he return to England, the family business of slaving, and his studies. Against his father’s orders, John runs a slave auction that turns disastrous when abolitionists intercede, leading to bloodshed and an escape. It doesn’t take long for John to find himself at odds with everyone else as Mary starts meeting secretly with the abolitionists, the dandy Major Gray (Chris Hoch) begins wooing Mary, and his father demands that he find the missing slave. John then sets off on a dangerous journey that only gets worse because of his haughty attitude and love of the drink, heading toward rock bottom at full speed.
The Playbill points out that Amazing Grace is Christopher Smith’s “first work of professional writing,” and it shows as the musical continues, bogged down by clichés and obvious plot twists. Smith, who wrote the music and lyrics and cowrote the book with Arthur Giron (Moving Bodies, A Dream of Wealth), strives to take us deep into the heart and soul of John Newton, exploring the travails that resulted in his composing one of the most famous songs ever written, but it turns out that Newton’s story is not nearly as compelling as the song itself. The cast is terrific — Hewitt (The Rocky Horror Show, Another Medea) and Cooper (The Life, Memphis), as the Newtons’ slave and John’s closest friend, are particularly impressive, and Mackey (Chaplin, Wicked) is in fine voice. But director Gabriel Barre (Summer of ’42, The Wild Party) never finds a consistent rhythm as the production attempts to navigate racism and white privilege but cannot escape mundane sentimentality and political correctness, especially in a banal finale. Part of the problem is that slavery is a one-sided conflict, and it is difficult to have sympathy for Newton even as he is being redeemed. The producers tried hard to avoid major religious overtones, given the title song’s association with the concept of redemption, and they achieve that in the first act, but the second act turns out to be far more preachy, complete with religious implications. Still, Amazing Grace, which has been in the works for eighteen years, has its moments, concluding with a sing-along of the complete eighteenth-century hymn that continues to have such an emotional impact, sung recently by President Obama at the funeral for shooting victim Rev. Clementa Pinckney in Charleston, South Carolina.
The 2014-15 Broadway season was a strong one, breaking records for both gross and attendance. Quality was up as well as quantity, with a bevy of musicals and plays worthy of high praise indeed. The Tonys will be handed out on Sunday night at Radio City, and below are my predictions for who will take home the prize, named after actress, director, and producer Antoinette Perry, the cofounder of the American Theatre Wing. In addition, you can read my review of every nominated show (save for one) here.
The Curious Incident of the Dog in the Night-Time
Hand to God
Wolf Hall Parts One & Two
What Should Win: The Curious Incident of the Dog in the Night-Time, an utterly dazzling theatrical experience (by the way, was there really no room for Airline Highway in this category?)
What Will Win: The Curious Incident of the Dog in the Night-Time, a treat for the eyes, ears, and brain
An American in Paris
What Should Win: Fun Home, because there’s nothing else quite like it
What Will Win: Something Rotten!, because it’s a clever Shakespearean musical that rewards the audience’s love of theater
BEST REVIVAL OF A PLAY
The Elephant Man
This Is Our Youth
You Can’t Take It with You
What Should Win: This Is Our Youth, a powerful drama that not enough voters will remember (and hey, what about It’s Only a Play?)
What Will Win: You Can’t Take It with You, because it has aged so surprisingly well
BEST REVIVAL OF A MUSICAL
The King and I
On the Town
On the Twentieth Century
What Should Win: On the Twentieth Century, for its sheer glee and love of life
What Will Win: The King and I, because it’s The King and I
BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATRE
Fun Home, music by Jeanine Tesori, lyrics by Lisa Kron
The Last Ship, music and lyrics by Sting
Something Rotten!, music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
The Visit, music by John Kander, lyrics by Fred Ebb
What Should Win: Fun Home, because of its originality and daring
What Will Win: Something Rotten!, because it’s a celebration of all things Broadway
BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY
Steven Boyer, Hand to God
Bradley Cooper, The Elephant Man
Ben Miles, Wolf Hall Parts One & Two
Bill Nighy, Skylight
Alex Sharp, The Curious Incident of the Dog in the Night-Time
Who Should Win: Sharp, who boggles the mind as a boy on the autism spectrum, although Boyer is outrageous as a puppet-obsessed boy on the edge
Who Will Win: Sharp, in a very strong category where all are deserving
BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY
Geneva Carr, Hand to God
Helen Mirren, The Audience
Elisabeth Moss, The Heidi Chronicles
Carey Mulligan, Skylight
Ruth Wilson, Constellations
Who Should Win: Mulligan, who is sensational as a single woman coming to terms with her life
Who Will Win: Mirren, because she’s royalty on both sides of the pond
BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A MUSICAL
Michael Cerveris, Fun Home
Robert Fairchild, An American in Paris
Brian d’Arcy James, Something Rotten!
Ken Watanabe, The King and I
Tony Yazbeck, On the Town
Who Should Win: Cerveris, who gives a complex, nuanced performance as a closeted husband and father
Who Will Win: Fairchild, who brings balletic elegance to Broadway while paying homage to Gene Kelly
BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A MUSICAL
Kristin Chenoweth, On the Twentieth Century
Leanne Cope, An American in Paris
Beth Malone, Fun Home
Kelli O’Hara, The King and I
Chita Rivera, The Visit
Who Should Win: Chenoweth, who is an unstoppable force of nature
Who Will Win: Chenoweth, because there’s just no stopping her
BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A PLAY
Matthew Beard, Skylight
K. Todd Freeman, Airline Highway
Richard McCabe, The Audience
Alessandro Nivola, The Elephant Man
Nathaniel Parker, Wolf Hall Parts One & Two
Micah Stock, It’s Only a Play
Who Should Win: Parker, for his novel, downright friendly interpretation of King Henry VIII, although Freeman and McCabe are exceptional as well
Who Will Win: Freeman, who is beguiling as transgender Sissy Na Na
BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A PLAY
Annaleigh Ashford, You Can’t Take It with You
Patricia Clarkson, The Elephant Man
Lydia Leonard, Wolf Hall Parts One & Two
Sarah Stiles, Hand to God
Julie White, Airline Highway
Who Should Win: White, for her poignant portrayal of a brave woman struggling to get by day by day
Who Will Win: Clarkson, for her poignant portrayal of the brave woman who looks into John Merrick’s soul
BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL
Christian Borle, Something Rotten!
Andy Karl, On the Twentieth Century
Brad Oscar, Something Rotten!
Brandon Uranowitz, An American in Paris
Max von Essen, An American in Paris
Who Should Win: Oscar, for joyfully going way over the top as the other Nostradamus
Who Will Win: Karl, who has quickly become a Broadway favorite
BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL
Victoria Clark, Gigi
Judy Kuhn, Fun Home
Sydney Lucas, Fun Home
Ruthie Ann Miles, The King and I
Emily Skeggs, Fun Home
Who Should Win: Lucas, for her marvelous turn as the youngest Alison Bechdel
Who Will Win: Lucas, who has a charming presence beyond her years
BEST DIRECTION OF A PLAY
Stephen Daldry, Skylight
Marianne Elliott, The Curious Incident of the Dog in the Night-Time
Scott Ellis, You Can’t Take It with You
Jeremy Herrin, Wolf Hall Parts One & Two
Moritz von Stuelpnagel, Hand to God
Who Should Win: Elliott, for the wildly inventive and constantly awe-inspiring Curious Incident
Who Will Win: Elliott, the mastermind behind an unforgettable production
BEST DIRECTION OF A MUSICAL
Sam Gold, Fun Home
Casey Nicholaw, Something Rotten!
John Rando, On the Town
Bartlett Sher, The King and I
Christopher Wheeldon, An American in Paris
Who Should Win: Gold, for reinventing Fun Home on its move from the Public to Broadway
Who Will Win: Sher, for his third straight beloved Rodgers & Hammerstein revival at Lincoln Center
Joshua Bergasse, On the Town
Christopher Gattelli, The King and I
Scott Graham and Steven Hoggett, The Curious Incident of the Dog in the Night-Time
Casey Nicholaw, Something Rotten!
Christopher Wheeldon, An American in Paris
Who Should Win: Wheeldon, who has brought ballet back to Broadway
Who Will Win: Wheeldon, for his ingenuity and craftsmanship
Winter Garden Theatre
1634 Broadway between 50th & 51st Sts.
Wednesday - Sunday through July 5, $49.75-$122
Last season the Brits thrilled Broadway with Shakespeare’s Globe’s doubleheader of Twelfth Night and Richard III, performed as they were in the Bard’s time. This season’s biggest British theatrical event is the Royal Shakespeare Company’s twin bill — but this time they’re not doing Shakespeare. Instead, the Royal Shakespeare Company brings us its widely hailed stage production of Hilary Mantel’s Man Booker Prize–winning novels Wolf Hall and Bring Up the Bodies, set in the just pre-Elizabethan England of Henry VIII. The two plays, which run more than five hours together and can be seen either on separate nights or the same day (matinee and evening, with a break in between), follow the trials and tribulations of lawyer Thomas Cromwell (Ben Miles), a blacksmith’s son, as he deals with Cardinal Wolsey’s (Paul Jesson) battle with King Henry VIII (Nathaniel Parker), who wants an annulment from his marriage to Katherine of Aragon (Lucy Briers) so he can wed Anne Boleyn (Lydia Leonard) to provide an heir to the throne. The based-on-fact intrigue also involves the conniving, ambitious Stephen Gardiner (Matthew Pidgeon), the dangerous Sir Thomas More (John Ramm), the soon-to-be Archbishop of Canterbury Thomas Cranmer (Giles Taylor), Henry’s former mistress Mary Boleyn (Olivia Darnley), and untrustworthy court musician Mark Smeaton (Joey Batey). In the first part, Cromwell tries to balance his life with his wife, Lizzie Wykys (Darnley), and children, Gregory (Daniel Fraser) and Grace, while negotiating between the cardinal and the king. In the second part, Cromwell’s power has grown, as he is now adviser to the king, who has married Anne. But Cromwell has learned that the new queen, who has been unable to produce a surviving male heir, might have been unfaithful to the king, who has turned his attention to Jane Seymour (Leah Brotherhead). It all comes to a head in a gripping scene in which Cromwell grills the men who have purportedly bedded down with the queen.
Expertly adapted by Mike Poulton (A Tale of Two Cities, Fortune’s Fool), the stage version of Wolf Hall and Bring Up the Bodies is very different from the recent six-part Masterpiece television series, which stars Rylance as Cromwell, Damian Lewis as Henry VIII, and Claire Foy as Anne Boleyn. Director Jeremy Herrin (The Nether, The Absence of War) keeps things stark and spare, with all of the action taking place on Christopher Oram’s minimalist set, which is usually empty, save for an occasional chair, desk, or table. Scene changes are indicated by Paule Constable’s lighting and the actors walking to the edge of the stage, then turning back around. Oram’s costumes are elegant and dramatic, seeming to have stepped right out of classic historical paintings. The rounded front of the stage juts out into the audience, making for a spectacularly intimate experience, particularly for those in the first few rows. The acting is exceptional, led by Miles’s (The Norman Conquests, Betrayal) sensational portrayal of the complex Cromwell, who would make quite a chief of staff in contemporary America. Parker (The Audience, Speed-the-Plow) is a marvelously devious Henry VIII, Briers (Top Girls, Some Kind of Bliss) is fiery as the embittered Katherine, Jesson (The Normal Heart, Mr. Turner) brings a warm sense of humor to the cardinal, and Joshua Silver, in his Broadway debut, is steadfast as Cromwell’s loyal ward and chief clerk, Rafe Sadler. Jealousy, desire, power, ambition, and vainglory collide in Wolf Hall Parts One & Two, another must-see theatrical event from across the pond.
254 West 54th St. between Seventh & Eighth Aves.
Tuesday - Sunday through August 2, $55-$159
In the chapter “Sacred Word, Profane Image” in her book Taboo Memories, Diasporic Voices, author Ella Shohat writes, “Although according to the Bible God made man in his own image, a few films have projected God in man’s image, making casting an unusually difficult task,” citing portrayals of the Supreme Being by George Burns, Vittorio de Sica, Robert Mitchum, Morgan Freeman, Alanis Morissette, and others. David Javerbaum’s devilishly funny new Broadway comedy, An Act of God, addresses that right at the outset, as Jim Parsons descends from the heavens to take a seat on a couch and chat with the audience. “I reside in all forms, yet my essence is formless, for I transcend all dualities, including that of form and formlessness,” God (Parsons) explains. “Yet tonight I have chosen to appear in form; specifically that of beloved television star Jim Parsons. For lo, I have endowed him with a winning, likable personality; and know of a certainty that your apprehension of My depthless profundities will be aided by his offbeat charm. And then, the irony of him starring in a show called The Big Bang Theory . . . I just couldn’t resist.” For the next ninety minutes, a primarily relaxed, easygoing Almighty presents a revised and updated version of the Ten Commandments for the twenty-first century, with the help of archangels Gabriel (Tim Kazurinsky) and Michael (Christopher Fitzgerald). While Gabriel reads passages from the Bible, Michael roams the audience, taking questions, starting out with innocuous queries but quickly getting into much larger metaphysical and existential matters of the universe as God addresses slavery, abortion, evolution, homosexuality, prayer, the Holocaust, incest, masturbation, Noah, Adam and Eve, Abraham and Isaac, the history of Studio 54, and cell phones, all with tongue firmly planted in cheek. But as charming and friendly as he can be, this God can also show his wrath when necessary.
Just as former Daily Show head writer Javerbaum’s book on which the play is based, The Last Testament: With 100 Top Tweets from @TheTweetOfGod, was billed as “A Memoir by God,” An Act of God is “A One-God Show” starring the Supreme Being Himself; He even gets His own paragraph in the Playbill, identifying Him as the Creator and pointing out that this “is His first work written directly for the stage.” Emmy winner Parsons, who dealt with another imaginary figure on Broadway in 2012 when he starred as Elwood P. Dowd in the Roundabout revival of Harvey, in which his character has a giant invisible rabbit for a best friend, is appealing and charismatic as the Lord, wearing sneakers with his long white robe and pushing the merch. He has the audience eating out of the palms of his hands from the get-go, and it willingly gives him the benefit of the doubt even when the script gets too clever for its own good or plays too fast and loose with some very serious subjects. SNL vet Kazurinsky (Police Academy) and two-time Tony nominee Fitzgerald (Finian’s Rainbow, Young Frankenstein) are fine foils for Parsons, the former standing steadfastly at his podium, worshiping his Bible, the latter moving about like Phil Donahue or Jerry Springer, ultimately angering his boss when demanding deeper insight. Tony-winning director Joe Mantello (Airline Highway, Other Desert Cities) maintains a graceful pace on Tony favorite Scott Pask’s (Pal Joey, The Book of Mormon) elegant set, highlighted by a staircase leading up to the stars (and evoking the Merrie Melodies logo), where Peter Nigrini’s projections add an extra touch. The breezy show might not quite answer the questions of the universe that have perplexed humankind throughout the centuries, but An Act of God is a wickedly sinful way to laugh your head off at the foibles of our modern-day, religion-crazed culture, where even the Almighty can be a celebrity.