this week in broadway

FASHION TALKS AT SHINE BY RANDI RAHM: BROADWAY NIGHT WITH SIERRA BOGGESS AND LAURA BELL BUNDY

Who: Sierra Boggess, Laura Bell Bundy, Nicole Ryan
What: Live, unscripted conversation with drinks, snacks, shopping, and cocktail gathering
Where: Shine by Randi Rahm pop-up boutique, 501 Madison Ave. between Fifty-Second & Fifty-Third Sts.
When: Wednesday, April 2, free with RSVP, 5:30
Why: Randi Rahm’s Fashion Talks at Shine kicked off March 5 with Bachelor Night, featuring Golden Bachelorette Joan Vassos, Bachelorette Charity Lawson, and moderator Nicole Ryan from SiriusXM, followed by Music Night with Jillian Hervey of Lion Babe on March 19. The third edition of the live podcast takes place April 2 with Broadway Night, when Ryan will be joined by actor, singer, and figure skater Sierra Boggess, who has starred in such shows as The Little Mermaid, The Phantom of the Opera, School of Rock, and Harmony, and actor, singer, and Tony nominee Laura Bell Bundy, whose Great White Way career includes Hairspray, Legally Blonde, and The Cottage.

“I always say, I’m in the art of fashion. To me, that means creating something that tells a story — something that moves people,” Rahm said in a statement. “These talks are an extension of that. They’re about connection, creativity, and the courage it takes to share who you really are. Laura Bell and Sierra embody all of that. They’re not only incredible artists but women who lead with heart, humor, and authenticity — and I’m so honored to have them join me in this space.”

Randi Rahm is hosting a series of fashion talks at Shine pop-up boutique

The intimate, candid conversation will be preceded by a chance to explore Rahm’s new ready-to-wear Shine collection and followed by a cocktail reception and more shopping; tickets are free with advance RSVP.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

BEAUTIFUL UNCERTAINTY: TOM SANTOPIETRO, AUDREY HEPBURN, AND DORIS DAY

TOM SANTOPIETRO AT B&N
Barnes & Noble
2289 Broadway at Eighty-Second St.
Monday, March 31, free, 6:30
212-362-8835
barnesandnoble.com
tomsantopietro.com

“When Audrey Hepburn died at 8 P.M. on January 20, 1993, at the age of sixty-three, she left behind one Academy Award, two Tony Awards, dozens of lifetime achievement awards, her beloved sons Sean and Luca, companion Robert Wolders, millions of fans, universal acclaim as an indefatigable activist on behalf of the world’s children, and one final surprise — a nearly empty closet.

“She had walked away from the church of fame that rules Hollywood and ever-increasing swaths of the general public yet held onto that fame without even trying. Her elusiveness only increased public interest in her films and clothes as well as her life and loves, but Audrey Hepburn had grown uninterested in rehashing old tales of Hollywood glamour and legendary friends. In an industry which based its self-image on endless awards shows, she was, it was safe to say, the only screen idol about whom a son could convincingly state: ‘Being away from home to win an award was really a lost opportunity. Walking the dogs with her sons was a personal victory.’”

So begins Tom Santopietro’s latest book, Audrey Hepburn: A Life of Beautiful Uncertainty (Rowman & Littlefield, March 2025, $45). Born and raised in Waterbury, Connecticut, Santopietro attended Trinity College in Hartford, then went to the University of Connecticut Law School, also in Hartford.

“I always joke that law school was the three misbegotten years of my life,” Santopietro tells me in a phone interview. “I stayed, I graduated, and as soon as I graduated, I said, I’m never doing this ever. And I never have. You know why? Because I was uninterested. And when it comes to work, we’re all good at what we’re interested in.”

A few weeks before, I had met Santopietro at the Coffee House Club for an Oscars straw vote event he hosted with his friend Simon Jones, who has appeared in such series as Brideshead Revisited, The Hitchhiker’s Guide to the Galaxy, and The Gilded Age (as Bannister) and in New York in such shows as The Real Thing, Privates on Parade, and, most recently, Trouble in Mind.

Santopietro is a lovely storyteller, in person and in print. Among his previous books are The Sound of Music Story: How a Beguiling Young Novice, a Handsome Austrian Captain, and Ten Singing von Trapp Children Inspired the Most Beloved Film of All Time; Considering Doris Day; The Way We Were: The Making of a Romantic Classic; The Importance of Being Barbra: The Brilliant, Tumultuous Career of Barbra Streisand; Why To Kill a Mockingbird Matters: What Harper Lee’s Book and the Iconic American Film Mean to Us Today; Sinatra in Hollywood; and The Godfather Effect: Changing Hollywood, America, and Me.

In A Life of Beautiful Uncertainty, Santopietro details Hepburn’s fascinating life and career in five acts comprising sixty-two chapters, including “What Price Hollywood,” “The Last Golden Age Star,” “A Star Is (Not Quite Yet) Born,” “Paris When It Fizzles — 1962–1964,” and “Everything Old Is New Again.” He explores Hepburn’s diverse filmography, from the many hits (Roman Holiday, Love in the Afternoon, The Nun’s Story, Charade, My Fair Lady, Breakfast at Tiffany’s, Funny Face) to a trio of what he calls “mistakes” (Green Mansions, The Unforgiven, Bloodline).

On March 13 at 6:30, Santopietro, who lives on the Upper West Side, will be at the Barnes & Noble on Broadway and Eighty-Second St. to discuss and sign copies of A Life of Beautiful Uncertainty. Below he talks about speaking with Doris Day and Alan Arkin, the decline of theater etiquette, celebrities’ charitable work, and his favorite Audrey Hepburn film.

Tom Santopietro will be at Upper West B&N March 31 for NYC launch of his latest book (photo by Joan Marcus)

twi-ny: Where did your love of movies come from?

tom santopietro: When I was a little kid, I always liked movies. But what really accelerated it was when I was at Trinity, I took film courses at Wesleyan, which is in Middletown, and their film department was headed by an incredible woman named Jeanine Basinger. Have you ever met Jeanine?

twi-ny: I haven’t, but I know of her.

ts: She was on the board of the AFI. She was an extraordinary teacher who ignited my love of old films and Hollywood. And that’s where it really took off. Jeanine showed me possibility, and that’s what’s so great. That’s what great teachers do. So anyway, that’s where it really took off. And then I came to New York and worked on several Broadway shows, which I still do, but about twenty years ago, I thought, I want to do something more creative. And that’s how I started to write.

twi-ny: That was your first book, The Importance of Being Barbra, which was published in 2006.

ts: I’ve been fortunate and lucky, and I always joke, I didn’t tell anybody I was writing a book because I thought, What if I don’t finish it? And what if it’s really bad? And then when it was done, I sent it to my oldest friend, and a couple of days later, he called me back. And in a voice of total surprise, he said, It’s good. So I still laugh about that. And that led to Doris Day, Frank Sinatra, and then the Godfather movies.

twi-ny: I’m looking at the books you have written and their subjects. This is something we talked about at the Coffee House, that they’re all beloved icons, beloved films, beloved characters; there’s a lot of love in the room. And one of the things you told me was that that’s one thing you do when choosing a subject.

ts: Yeah, I really do. Because I think, well, you know this, you are a writer. I always say I don’t want to write a book about Stalin because I don’t want that monster in my head for three years. So these are people whose talent I admire so much. And also what I realized, Mark, and this just came to me when the Audrey book was completed, I thought, Oh, I’ve completed a trilogy of books about enormous stars, all of whom are incredibly nice, which is so rare in Hollywood. And that’s Doris Day, Audrey Hepburn, and Julie Andrews, these women who are beloved by their costars. And in the same way, I also realized after it was completed, Oh, I wrote a trilogy of books about family, and those were The Godfather, The Sound of Music, and To Kill a Mockingbird.

So I didn’t even realize it until the trilogy had been completed, but whatever was inside of me clearly needed to be expressed.

twi-ny: In the case of Doris Day, you had a conversation with her.

ts: Yes, after the book came out. The phone rang very late one night. It was after eleven, and I answered the phone grumpily.

I hadn’t eaten dinner yet. I had just come in from work. And I said, Well, who is this? And she said, Well, I’ve been trying to reach you from Carmel, California, for a long time. And then I realized it was Doris. Everybody wants to know what it was like. We spoke for an hour; as nice as she was on the screen, she was even nicer on the phone. It’s extraordinary. She was so unbelievably honest and open; she talked about her failed marriages, her love of animals, and Hollywood. So yeah, she was pretty terrific. I wrote that book because I felt she was a huge star who never received her due.

twi-ny: She retired from movies so early in her career.

ts: Another thing in writing about Audrey Hepburn is Audrey Hepburn and Doris Day had a lot of similarities, which was they worked from when they were teenagers nonstop. And then they both walked away from their fame; Doris said, “It means much more to me to work for animal welfare.” And Audrey said, “I want to work for UNICEF.” So that interests me a lot, that in our fame-obsessed society, world-famous women would walk away from it.

twi-ny: Right. And someone like Doris Day — I bet a lot of people don’t realize that she died only in 2019. So there was a long time, even with social media and the internet and everything, that she still wasn’t around. People didn’t know her, except for her charity work, but she wasn’t flooding Facebook with it. So, she was a very private person.

ts: Yes, a very private person. And so was Audrey. And so what interests me, Mark, is we’re a fame-obsessed society today, right?

twi-ny: Oh, yes.

ts: That’s reality television, everybody demanding to be famous.

twi-ny: Even the president.

ts: That’s a really interesting dichotomy. One thing I discovered while researching the Audrey book is that who knew that Audrey Hepburn and Elizabeth Taylor were good friends? They were so opposite as people, but separately, toward the end of their lives, they used the exact same phrase: “At last, my fame makes sense to me.” And that’s because Elizabeth Taylor, with her AIDS activism, and Audrey, with UNICEF, that’s how they defined themselves. And I thought that was worth exploring.

twi-ny: That’s something that also happened and is still happening with Brigitte Bardot. She retired early to spend her life with animals and become an antifur activist. And I bet she would say the same thing as Audrey, Doris, and Elizabeth.

ts: I think that’s true. And because at a certain point, fame and money are nice, but how much does the acclaim of strangers really mean when you want to make a difference? And the difference comes through for these women through their social activism. Audrey was a kind of saint. She was such a good person.

twi-ny: All the people you spoke with, you probably never got a bad quote from anyone. Everybody just loved her. Is that right?

ts: That’s fair to say, and it’s not hyperbole. People who worked on the sets, everyone in the village in Switzerland where she lived, said she was unfailingly good to people. And I think after her war-torn, very disrupted childhood, I think she realized the value of family and the value of treating people with kindness. Because she said toward the end of her life, “The most important thing in life is being kind.” She really lived that.

Tom Santopietro signs copies of The Sound of Music Story at B&N in 2015 (photo courtesy Tom Santopietro)

twi-ny: In doing your research and interviews, was there one moment that really struck you or surprised you?

ts: I think the biggest surprise for me is how she really — how do I want to answer this — the reason why I titled the book A Life of Beautiful Uncertainty is that her entire life, she was uncertain of herself. And that was surprising. She genuinely did not think she was pretty. She just saw flaws everywhere. She genuinely did not think she was a good actress. And that shocked me because she was beautiful. And she was a terrific actress. And I think it stems from when, in the span of two months, she won the Tony Award and the Academy Award, and her mother said to her, “It’s amazing how far you’ve gotten considering how little talent you have.” [ed. note: In 1954, Hepburn won the Tony for Ondine and the Oscar for Roman Holiday.]

twi-ny: That haunts people, that kind of stuff.

ts: Yeah. So I think it all comes back to childhood, right?

twi-ny: It so often does.

ts: Barbra Streisand grew those incredibly long fingernails because her mother said, “Well, you should be a typist.” She grew her fingernails so she couldn’t type.

I think the other thing is that because I love films, and this is circling back to what we said earlier, I felt Audrey had never received her due as to how good an actress she was. Everybody says she’s charming and beautiful, but you look at a movie like The Nun’s Story, directed by Fred Zinnemann — that is a spectacularly good performance; the whole performance is with her eyes. And I wanted people to realize how skilled she was, even if she didn’t think she was skilled.

twi-ny: One of my favorite movies, and I don’t know that it would always be at the top of her list, but I adore Charade, which you write about in the book. Even with Cary Grant, Walter Matthau, George Kennedy, James Coburn, all these popular men in the movie, it is all built around her face.

ts: That’s exactly right.

twi-ny: And it’s the best Hitchcock movie Hitchcock didn’t make.

ts: That sums up that movie perfectly.

twi-ny: Do you have a favorite film of hers?

ts: That’s a great question. I know this is a cop-out answer, but I have three favorite films: The Nun’s Story, because her performance is spectacular. And also it’s really interesting the way it grapples with issues of faith and higher powers. My second favorite movie is My Fair Lady, because it’s so beautiful to look at and listen to. And the third one is, believe it or not, Wait Until Dark, because it still scares the living daylights out of me.

twi-ny: Yes. And it’s still scaring us. People who love Alan Arkin don’t realize that he could be pretty threatening.

ts: Toward the end of his life, I was able to interview him over the phone for the book. The funny thing is, when I finally got him, he started the conversation by saying, “Well, I hear you’ve been looking for me.” What he said was that Audrey was so lovely and such a good person that twenty years later, when she received the Chaplin Award from Lincoln Center, he was one of the speakers. And when he saw her, he actually apologized to her and said, I’m so sorry I was so mean to you in that movie, which is sort of amazing.

twi-ny: Can you share publicly who or what your next subject might be?

ts: I actually haven’t really figured out who I’m writing about next because, well, this has taken a long time, but also I wrote a play and it was produced this past summer in Connecticut. So I want to spend time putting the play out in the world for other productions, and it sort of fits in with what I write about because it’s a one-woman play called JBKO, about Jacqueline Bouvier Kennedy Onassis. So that’s really what I’m going to work on next.

twi-ny: Well, this is a good transition, because my last question was going to turn back to theater. You work as a house manager part-time on Broadway.

ts: Yes. I’ve been a general manager, and these days I’m working as a house manager most of the time. I don’t know if you’ve found this too, but because writing is so solitary, it’s really good for me to be around people at night at the theater. So that socialization is great, as long as the audiences are behaving themselves, of course.

twi-ny: That’s where I was going with this. At the Coffee House, we discussed how, since the pandemic, the audience’s relationship with the theater experience, interacting with other people, isn’t the same as when they were going out for a night of theater years ago.

ts: Well, I think it’s a funny thing, but since the pandemic, when people go to the theater, on some level they still think they’re in their living room streaming a show. That’s the only way I can try to make sense of it. When you’re home, you talk, you eat. And it’s different in a Broadway theater. So that’s sort of my best explanation for it.

twi-ny: Right. As someone who goes to a lot of theater, I’ve seen some things that I never had before. It’s like, I paid for my ticket, I can do whatever I want. But no, you can’t. It’s sort of representative to me of how we deal with our fellow human beings in everyday life. Now we’re much more quickly agitated, and people don’t want anyone telling them what to do.

ts: Exactly. Yeah, that has all changed. What hasn’t changed, the positive thing for me, is that theater offers people the sense of being part of a family. Everybody’s there backstage to put on the best possible show. I always say you belong when you walk through the stage door. And that’s a great feeling. That’s the joy of theater for me.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

ENGLISH FIRST: A TICKING TIME BOMB

Omid (Hadi Tabbal) and Marjan (Marjan Neshat) form an intimate bond in Sanaz Toossi’s English (photo by Joan Marcus)

ENGLISH
Todd Haimes Theatre
227 West Forty-Second St. between Broadway & Eighth Ave.
Tuesday – Sunday through March 2, $72-$313
www.roundabouttheatre.org

It might be difficult for non-English speakers to learn the world’s most spoken language, but Sanaz Toossi’s Pulitzer Prize–winning play, English, has made a smooth transition from the Linda Gross Theater to Broadway. In fact, the Atlantic-Roundabout coproduction is even more powerful now given the current US administration’s war on illegal (and legal) immigration and America First policies.

According to the Oxford Digital Institute, English “is the language of international communication,” spoken in more than one hundred countries even though it “is a hard language to learn due to its complex grammar rules, pronunciation variations, and vast vocabulary . . . riddled with exceptions and irregularities, making it difficult to master. Additionally, English has a diverse range of accents and dialects, making it challenging for nonnative speakers to understand and communicate effectively.”

Everything I wrote in my review of the off-Broadway premiere in February 2022 still holds true: Concepts of home and personal identity lie at the heart of Toossi’s poignant and involving work, which continues at the Todd Haimes Theatre through March 2. The play is set in a small classroom in Karaj, Iran, in 2008, where Marjan (Marjan Neshat) is teaching basic English to four students who are planning on taking the TOEFL, the Test of English as a Foreign Language, for different reasons. Marjan insists that they speak only English in the class rather than Farsi, their native tongue.

Roya (Pooya Mohseni) wants to be able to speak with her new granddaughter, who lives in Canada with Roya’s son and his wife, who are not teaching the child Farsi. “I hope you not forget. Nate is not your name,” she tells her son, who used to be known as Nader.

Elham (Tala Ashe) has passed her MCATs but needs to learn English so she can study gastroenterology in Australia. “My accent is a war crime,” she angrily admits.

Omid (Hadi Tabbal) has an upcoming green card interview in Dubai, but his English is already excellent, nearly accentless. When asked why people learn language, he says, “To bring the inside to the outside.”

Goli (Ava Lalezarzadeh) is an eighteen-year-old girl who believes Ricky Martin is a poet. “People like accent,” she says, not ashamed of who she is.

After a presentation by Goli doesn’t go particularly well, Marjan, a married woman who spent nine years in Manchester before moving back to Iran with her family, says, “Don’t be sorry! We were speaking English with each other. I think it’s one of the greatest things two people can do together.”

As Elham’s frustration with English builds — she repeatedly uses Farsi in class, accumulating negative points — she gets into disagreements with everyone else, speaking frankly, without apology. “Goli, people hear your accent and they go oh my god it is so funny you are so stupid. . . . Okay if I have accent, bad TOEFL score. Omid has accent, no green card. Roya’s accent? Disaster.” Some of them equate the attempted erasure of their Iranian accent when speaking English with the loss of their identity, as if they are surrendering their unique culture. “Don’t you think people can do us the courtesy of learning our names?” Elham says to Marjan, who went by “Mary” when she lived in England.

“English isn’t your enemy,” Marjan insists. “English is not to be conquered. Embrace it. You can be all the things you are in Farsi in English, too. I always liked myself better in English.” But Marjan won’t acknowledge to herself that that is exactly the problem. “I feel like I’m disappearing,” she says later to Omid.

Four students and a teacher learn about life and language in English (photo by Joan Marcus)

English is beautifully written by Toossi (Wish You Were Here) and gracefully directed by Knud Adams (I’m Revolting, Pulitzer Prize winner Primary Trust), giving each character room to develop. Although they go back and forth between English and Farsi, whenever they speak English, the actors use Iranian accents, but when they talk in Farsi, they lose the accent, sounding like plain old longtime Americans, a device that serves as a metaphor for colonialism, nation-building, and ethnocentrism.

One of the only changes from the Atlantic version is that the song Goli plays for show-and-tell has switched from Shakira’s “Whenever, Wherever” to Martin’s “She Bangs,” in which the Puerto Rican heartthrob sings, “Talk to me. Tell me your name. / You blow me off like it is all the same. / You lit a fuse and now I’m ticking away like a bomb. / Yeah baby.”

Marsha Ginsberg’s revolving cube set is open on two sides, revealing the inside and the outside; the movement feels even stronger this time, more precarious. When the rotation stops so a scene can begin, a stanchion might block part of your view of a character, as if they are disappearing.

Enver Chakartash’s costumes meld traditional Iranian clothing, like head scarves, with American accents. The cast is exceptional, quickly forming a cohesive unit; it probably wouldn’t be too much of a stretch to assume they have each had to deal with the issue of making sacrifices to learn a new language and culture in some way, as all of them, in addition to the bilingual Toossi, were either born in Iran or Lebanon or their parents were. English was actually Toossi’s NYU thesis, written in response to Donald Trump’s Muslim travel ban and anti-immigration policies.

About halfway through the play, Marjan tells the class, “If you are here to learn English, I am going to ask you to agree that here in this room we are not Iranian. We are not even on this continent. Today I will ask you to feel any pull you have to your Iranian-ness and let it go. Keep it outside the wall of this classroom. In this room, we are native speakers. We think in English. We laugh in English. Our inhales, our exhales — we fill our lungs in English. No more Farsi. Can we agree to that?” Toossi understands the kind of sacrifices it takes to make a new life in a new country.

In the original production, Farsi was never actually spoken, but on Broadway, the final words are now in the Iranian tongue, a sharp parting shot at what’s happening in America and around the world.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

FROM NASHVILLE TO NEW ORLEANS: TWO JUKEBOX MUSICALS HEADING IN DIFFERENT DIRECTIONS

Louis Armstrong (James Monroe Iglehart) waves goodbye to Broadway in A Wonderful World (photo by Jeremy Daniel)

A WONDERFUL WORLD: THE LOUIS ARMSTRONG MUSICAL
Studio 54
254 West 54th St. between Seventh & Eighth Aves.
Tuesday – Sunday through February 23, $69-$278
louisarmstrongmusical.com

Jukebox musicals generally come in two basic kinds of flavors: somewhat-fact-based accounts of superstars (Tina Turner, Cher, the Temptations, Michael Jackson, Neil Diamond, Frankie Valli and the Four Seasons, Carole King) and original narratives based on the work of one composer, performer, or era (Alanis Morissette, Jagged Little Pill; Britney Spears, Once Upon a One More Time; Max Martin, & Juliet; the Go-Go’s, Head Over Heels; the 1970s, Rock of Ages).

A pair of current shows use contrasting approaches, but while one has been extended several times, the other has posted an early closing notice.

At Studio 54, A Wonderful World: The Louis Armstrong Musical tells the fact-based story of the American trumpeter and singer known as Satchmo (James Monroe Iglehart), concentrating on the songs he performed throughout his career, while at the West End Theatre, Music City relates a fictional contemporary tale of the search for fame and love, consisting of tunes by country songwriter J. T. Harding, who has penned hits for Uncle Kracker, Kenny Chesney, Keith Urban, Blake Shelton, Dierks Bentley, Darius Rucker, and others.

A Wonderful World features nearly thirty jazz and jazz-adjacent tunes as the narrative divides Armstrong’s story into four sections, each with a different woman by his side: tough-talking prostitute Daisy Parker (Dionne Figgins) in New Orleans, jazz pianist Lil Hardin (Jennie Harney-Fleming) in Chicago, dancer Alpha Smith (Kim Exum) in Hollywood, and Cotton Club performer Lucille Wilson (Darlesia Cearcy) in New York. Although the song list is impressive, with such numbers as “Basin Street Blues/Bourbon Street Parade,” “Up a Lazy River,” “Black and Blue,” “Heebie Jeebies,” “Do You Know What It Means to Miss New Orleans,” and “After You’re Gone,” many of them are given short shrift rather than full renditions, matching the lack of insight into what made Armstrong the larger-than-life figure he was.

Aside from finding out about his four wives, there is little new audiences will learn about Louis; even when it deals with racism, the focus gets lost, outshone by Armstrong’s huge showmanship and popular success and all his preening. Adam Koch and Steven Royal’s heavily blue sets are glitzy and Toni-Leslie James’s costumes are flashy, but the book, by Aurin Squire, conceived by Andrew Delaplaine and Christopher Renshaw, merely brushes the surface, and the direction, by Iglehart and Christina Sajous, is worshipful where it should be articulate.

Figgins (Memphis, Motown), Harney-Fleming (Hamilton, The Color Purple), Exum (The Book of Mormon), and Cearcy (The Color Purple, Ragtime) steal the show from Tony winner Iglehart (Aladdin, Hamilton), who seems to be playing a caricature of Armstrong, never reaching the necessary depth. Dewitt Fleming Jr. (The Tap Dance Kid, Pearl) gives nuance to Lincoln Perry, better known as Stepin Fetchit, while Gavin Gregory (The Gershwins’ Porgy & Bess, The Color Purple) plays hard-luck bandleader “King” Oliver.

A Wonderful World recently announced that it will be closing early, on February 23; overall, it was a missed opportunity.

Music City brings Nashville to the Upper West Side (photo by Ashley Garrett)

MUSIC CITY
West End Theatre
Church of St. Paul and St. Andrew
263 West Eighty-Sixth St. at West End Ave.
Tuesday – Sunday through March 2, $68 – $130.50
bedlam.org

Despite an exciting, promising first act, Bedlam’s Music City: A New Musical, which opened on November 17 and has been extended three times, the latest until March 2, also ends up being a missed opportunity.

Last year, I visited Nashville with friends and fell in love with the live music pouring out of every bar, club, and honky tonk and into the crowded streets, where people were partying well into the night. Director Eric Tucker and book writer Peter Zinn capture that energy on Clifton Chadick’s lifelike set, which transforms the theater at the Church of St. Paul and St. Andrew on the Upper West Side into the Wicked Tickle, a seedy watering hole in East Nashville. The audience sits at small tables as if they are guests at the club, where they can get drinks, check out the (fake) memorabilia on the walls, and whoop it up as the narrative unfolds around them.

About a half hour before curtain, an open mic begins, introducing some of the characters, so get there early and soak in the realistic atmosphere. The show proper begins with brothers TJ (Stephen Michael Spencer) and Drew (Jonathan Judge-Russo) performing their rousing “Y’allsome,” in which they declare, “Y’all ain’t scared to have a little fun. / Whiskey shots from a water gun. / Ain’t slowing down — / And here comes the sun! / Y‘allsome party people. / Y’allsome crazy mothers. / Y’allsome freakin’ good lookin’ country music lovers! / Hankin’ and drankin’ all wrecking ball shaking the walls.”

When they’re done, Drew, who comes up with the titles and ideas for the songs, and TJ, who writes the music and lyrics, are approached by Leeanne (Leenya Rideout), a slick record executive who wants to hear their demo, as she’s scouting tunes for country superstar Stucky Stiles’s (Andrew Rothenberg) next tour and album.

They don’t have a demo, so Drew decides to ask local drug dealer and open-mic regular Benjamin Bakerman (Rothenberg) to invest two grand in their band so they can afford studio time. Bakerman instead offers them the opportunity to earn the cash by delivering “cookies” for him. TJ is initially against the plan, but Drew talks him into it.

Soon TJ is handing off bags of meth to such junkies as Tammy (Rideout), a former wannabe country star. “Bet you think you’re gonna be a big ol’ star one day just like everyone else in this shithole town,” she says, lighting up her pipe. “I remember when I used to walk around Nashville with a guitar on my back. I wish somebody woulda told me back then how ridiculous I looked.”

At the next open mic, TJ instantly falls for a young woman named 23 (Casey Shuler) as she plays a deeply personal ballad, singing, “Like soldiers coming home from war / Who am I to want something more?”

With money in their pockets, TJ and Drew start working on their demo in drummer Newt’s (Drew Bastian) studio. Meanwhile, Stucky wants to be recording his own songs instead of party tunes written by others, but Leeanne tells him that ship has sailed.

TJ and 23 connect and start writing together, Stucky comes to the Wicked Tickle, and relationships get twisted and complicated as Bakerman keeps putting pressure on TJ to sell his product.

Drew (Jonathan Judge-Russo) and TJ (Stephen Michael Spencer) contemplate a shot at the big time in Music City (photo by Ashley Garrett)

Unfortunately, Tucker (Uncle Romeo Vanya Juliet, Sense and Sensibility) and Zinn (Rumspringa, Somewhere with You) throw in the kitchen sink in the second act, heaping on trauma after trauma, leading to a mind-boggling finale that comes out of nowhere and pulls everything that happened before down with it. In addition, John Heginbotham’s choreography, performed by Corry J Ethridge and Holly Wilder, seems to have come from a completely different show.

It’s a shame, because nearly all the other elements are in place: The backup band, featuring Ann Klein on guitars, Tony Tino on bass, Bastian on drums, and emcee and music director Julianne B. Merrill on keyboards, is excellent, keeping things hopping throughout, and the cast is charming and engaging, especially Spencer (Clyde’s, Julius Caesar) and Shuler (Titanic, Robin Hood), who make an adorable couple. The twenty songs, which include “Smile” (a hit for Uncle Kracker), “Somewhere with You” (Chesney), and “Alone with You” (Jake Owen), range across the country spectrum like a live jukebox, although “Sangria” (Shelton), which gets the spotlight, doesn’t carry enough weight here.

Then again, the PBRs are cheap, the staging is fun, and, hey, it’s Nashville in New York, which is some kind of wonderful.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

ROMEO + JULIET ON BROADWAY CONQUERS KING LEAR AT THE SHED

Sam Gold’s Romeo + Juliet is made for Gen Z but can be enjoyed by all (photo by Matthew Murphy and Evan Zimmerman)

ROMEO + JULIET
Circle in the Square Theatre
1633 Broadway at 50th St.
Tuesday – Sunday through February 16, $159-$1002
romeoandjulietnyc.com

Last fall, when I saw Sam Gold’s Romeo + Juliet at Circle in the Square and Kenneth Branagh’s King Lear at the Shed, I was not anticipating being charmed by the former and disappointed in the latter.

Tony and Obie winner Gold has had decidedly mixed results with controversial and often confusing star-driven adaptations of such Shakespeare plays as Macbeth and King Lear on Broadway, Othello at New York Theatre Workshop, and Hamlet at the Public.

Meanwhile, Branagh is widely considered the finest interpreter of the Bard since Laurence Olivier, both onstage, such as his immersive version of Macbeth at Park Ave. Armory and his 1987 and 2016 takes on Romeo and Juliet, and his well-received cinematic adaptations of Henry V and Much Ado About Nothing.

Lear is a personal favorite of mine; Branagh’s is the eighth major production I’ve seen in the last twenty years. I have not had as much luck with R&J, from David Leveaux’s flat 2013 Broadway revival to Hansol Jung’s profoundly perplexing 2023 effort at the Lynn Angelson, although I adored Michael Mayer’s & Juliet, a musical imagining of what might have happened if Juliet had survived.

Closing February 16, Gold’s Romeo + Juliet is a plush and lively, radical AMSR presentation tailored for Gen Z, complete with an Insta-friendly plethora of stuffed teddy bears onstage and in the lobby. When the audience enters the theater in the round, the actors are already hanging out, talking, dancing, and dissing with each other, pushing around a shopping cart of stuffed animals, skateboarding, and lounging on plastic furniture. They wear sneakers, hoodies, and a Hello Kitty backpack. On one side, a giant pink teddy bear watches in silence while across the space a DJ spins Jack Antonoff’s thumping music.

The youthful cast features the hot Rachel Zegler as Juliet and the even hotter Kit Connor as Romeo, with Tony nominee Gabby Beans as Mercutio and the friar, Sola Fadiran as both Capulet and Lady Capulet, Taheen Modak as Benvolio, Tommy Dorfman as the nurse and Tybalt, and Gían Pérez as Samson, Paris, and Peter. The doubling and tripling often makes it hard to know who is who, and some actors do better with the tweaked dialogue than others. Two songs are completely unnecessary, and the use of a handheld microphone is baffling, as is the handling of a poison jug.

But much of the staging is dazzling, from Juliet’s bed, which drops slowly from the rafters, to a colorful expanse of flowers that emerges from the floor. Yes, the F-bomb appears twice, but surprises await those who fully invest themselves in this contemporary tale made for this moment in time.

Kenneth Branagh’s ritualistic King Lear goes astray early (photo by Marc J. Franklin / courtesy the Shed)

Unfortunately, Branagh, codirecting with Rob Ashford and Lucy Skilbeck, struggles with his streamlined adaptation, which, at a rushed two hours without intermission, has cut several key scenes and famous lines, and without the proper character development it’s often hard to differentiate among the minor characters, who are played by recent graduates of the Royal Academy of Dramatic Arts and look like survivors from Game of Thrones. Branagh, who is sixty-four, does not portray Lear as an aged, failing man but as a younger warrior, which alters the plot’s narrative center.

Like Gold’s R+J, Branagh’s staging involves a large sphere, in this case an imposing UFO-like disc that hovers over the action, occasionally moving and tilting, onto which ominous weather patterns are projected. (The script identifies the setting as “outer space.”) It also leaves in one of the songs, which feels extraneous given the show’s shortened length.

Thus, my initial thoughts that Gold would pale in comparison to Branagh were misbegotten.

“O teach me how I should forget to think!” Romeo tells Benvolio.

Who woulda thunk it?

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

CHRISTMAS IN CONNECTICUT: A (DYS)FUNCTIONAL FAMILY SATIRE

The Dahls have a Christmas to remember — or forget — in Cult of Love (photo by Joan Marcus)

CULT OF LOVE
Hayes Theater
240 West 44th St. between Broadway & Eighth Ave.
Through February 2
2st.com

I started to call Leslye Headland’s hilarious, on-target Broadway debut, Cult of Love, the story of a dysfunctional family at Christmas, but I stopped myself because it sounded redundant; has there ever been a holiday-themed play about a functional family?

Directed with plenty of pizzazz and panache by Obie winner and two-time Tony nominee Trip Cullman, the hundred-minute satire introduces us to the musical Dahl family, who come together on Christmas Eve at their farmhouse in Connecticut to sing songs and do battle. Patriarch Bill (David Rasche) is a piano-playing Pollyanna and a hugger who prefers to avoid arguments; his children think he might be suffering from dementia, because how else can he be so positive? Matriarch Ginny (Mare Winningham) strums the guitar, sings songs about Jesus, and plays favorites with her children, even though she fails to see it.

The Dahls’ eldest progeny, Mark (Zachary Quinto), is a law clerk in DC, almost became a priest before abandoning Christianity, and is having marital problems with his wife, Rachel (Molly Bernard), who converted from Judaism and drinks too much at family events.

Older daughter Evie (Rebecca Henderson) recently got back from her Italian honeymoon with her new spouse, Pippa Ferguson (Roberta Colindrez); both have successful careers in brand management.

Third child Johnny (Christopher Sears) is the ever-late prodigal son who has been in and out of rehab for years; everyone is excited when they learn he is bringing a mystery guest, Loren Montgomery (Barbie Ferreira).

The baby of the group, twentysomething Diana Dahl Bennett (Shailene Woodley), is a Bible thumper with a six-month old son with her husband, Episcopal priest James Bennett (Christopher Lowell), and she is pregnant again.

Music is the only thing a Connecticut family can agree on in hilarious Broadway satire (photo by Joan Marcus)

Over the course of a fretful, highly volatile evening, the Dahls and their significant others discuss racism, homophobia, smoking, molestation, mental health, the Mexican wedding cookies known as polvorones, and tolerance in between picking up instruments (guitars, banjo, ukulele, melodica, washboard, sleigh bells, maracas) and breaking into traditional religious songs as well as tunes by Radiohead, the Fleet Foxes, and Sufjan Stevens, displaying gorgeous harmonies and pure joy that, momentarily, put aside their seemingly endless issues with one another.

“Evie! Are you picking a fight during Christmas carols?” Mark cries out. Evie responds, “I’m questioning the problematic lyrics, Mark!” Diana concludes, “You ruin it when you do that.”

When Evie wants to talk about Bill’s health, Mark argues, “Is Christmas really the best time for that?” Evie explains, “Christmas is exactly the time to talk about the things we never talk about.”

John Lee Beatty’s cluttered Christmas-themed set feels homey and lived in, with windows and glass doors that offer peaks at what is going on in the outside world, where perhaps sanity is possible. Jacinth Greywoode’s expert musical direction will make you wonder if there will be a cast album. The ensemble is terrific as Cullman guides them through an ever-more-claustrophobic situation.

“You must be having a wonderful time,” Bill says to Loren, who answers for her and the audience when she replies, “Oh, sure. I love the singing, the lesbian drama. It’s all great.”

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

EUREKA! STRIKING GOLD ON BROADWAY

The executive committee at Eureka Day School has its work cut out for it (photo by Jeremy Daniel)

EUREKA DAY
Samuel J. Friedman Theatre
261 West Forty-Seventh St. between Broadway & Eighth Ave.
Tuesday – Sunday through February 16, $48-$321
www.manhattantheatreclub.com

Jonathan Spector’s Eureka Day is the funniest play of the year.

Five years ago, I called Colt Coeur’s East Coast premiere of Eureka Day at walkerspace an “uproarious satire.” It’s even better in the Broadway debut of the Manhattan Theatre Club production at the Samuel J. Friedman, succeeding where a similarly themed show, Larissa FastHorse’s The Thanksgiving Play, about a woke quartet of grown-ups trying to put on an acceptable, PC holiday show for young schoolchildren, failed. The fall 2018 iteration of The Thanksgiving Play at Playwrights Horizons was fresh and original and utterly hilarious; its 2023 Broadway version was stale and outdated, like dried-out leftovers.

That doesn’t happen with Eureka Day, which strikes gold for the second time.

The story takes place in the fall of 2018 in the library of the Eureka Day School in Berkeley, California. The executive committee is meeting, and the opening dialogue sets the stage for what’s to come.

Meiko: Personally no / I don’t find it offensive / the term itself is not offensive.
Eli: It’s descriptive.
Suzanne: I think she’s saying / I’m not putting words in your mouth / she’s saying it’s not offensive / but when you contextualize it in that way. . . .
Meiko: I find / the best way not to put words in someone’s mouth? / is not to put words in their mouth.
Don: Okay okay.
Suzanne: Sorry sorry.
Meiko: It’s fine / what I meant was / that we’d want to make it absolutely clear that it’s optional / that it’s not / Either / Or.
Suzanne: Right / and also / that the inclusion of the term on this list at all is / I think / inappropriate? / and that some people may / With Good Reason / find its inclusion offensive.
Eli: No no yeah / I just wonder though / by leaving it off / is it possible some people would find its absence offensive?
Don: You’re concerned / that it could be a sort of / erasure / of people’s experience?
Eli: Right / if our Core Operating Principle here is that everyone should / Feel Seen / by this community.
Suzanne: There’s no benefit in Feeling Seen if you’re simultaneously Being Othered / right?
Meiko: Well / no yeah.
Don: Carina, did you want to / do you want to / offer anything?
Carina: Oh, I / I’m happy to defer / I don’t know that I’ve really formed a strong [opinion.]
Don: That’s perfectly all right / even just your gut instinct is [welcomed] / this is an Open Room / we welcome your unique perspective.

The discussion is about what to include in the school’s online dropdown menu where parents are supposed to click off their kid’s race/ethnicity/heritage, but it could deal with so many other subjects that are part of the committee’s efforts to be as inclusive as possible in any and all situations.

“Sounds like there’s a lot to unpack here,” Don says, but there’s a lot to unpack everywhere in this outrageously hilarious satire.

The white, childless Don (Bill Irwin) is the head of the committee and prefers not to take sides, ending each meeting with a quote from the thirteenth-century Sufi poet Rumi. The well-off, white Suzanne (Jessica Hecht) is a longtime board member who has put each of her six children through Eureka Day and regularly supplies the library with books. The white, Jewish Eli (Thomas Middleditch) is a wealthy tech bro with an open marriage and one son in the school. He is secretly dating the half-Japanese Meiko (Chelsea Yakura-Kurtz), who has a daughter in the school and spends much of her time knitting rather than actively participating in the committee’s proceedings. And the biracial Carina (Amber Gray) is filling the spot saved for the new member, hesitant to share her views until she can’t stop herself as it all becomes ridiculously absurd.

When a student contracts the mumps and the health department sends an official notice explaining that nonvaccinated children will be barred from attending school until they get their shot, the committee calls for a hybrid Community Activated Conversation, with parents commenting from home on the chat, which delves into vaccination efficacy, conspiracy theories, personal and public responsibility, and plenty of vicious name-calling.

Christian Burns: Wait. HALF the school is antivaxxers? Seriously????
Sandra Blaise: “Anti-vaxxer” is not really a term I’m comfortable with. It’s actually something said out of IGNORANCE.
Karen Sapp: Exactly! Protect your children by EDUCATING YOURSELVES.
Tyler Coppins: OR, Protect your children by VACCINATING THEM.
Courtney Riley: Wait what???? Why should we be forced to keep our kids home because you CHOOSE to endanger yours?
Doug Wong: Okay here’s another idea: what if we made the quarantine days OPTIONAL.
Orson Mankel: Doug, that’s idiotic. If the “problem” is that we won’t have enough kids in class, why make the problem worse???
Christian Burns: TRUE FACTS: Moonlanding wasn’t faked. 9/11 wasn’t an inside job. Global Warming is real. Vaccines Don’t Cause Autism.
Karen Stacin: Mock all you want, but I saw so many bad things as a nurse. That’s why I decided I would NEVER subject my children to Western Medicine of any kind.
Christian Burns: Remember that time I got crippled from polio? Oh, no, wait. I didn’t. Cause I got FUCKING VACCINATED.

Things only devolve from there in side-splitting ways that are even funnier — and more frightening — now that President-elect Donald Trump has nominated the controversial Robert F. Kennedy Jr. to run the Department of Health and Human Services.

Community Activated Conversation at Eureka Day goes terribly wrong in hilarious Broadway play (photo by Jeremy Daniel)

Ancient Greek polymath Archimedes is often credited with coining the exclamation Eureka! upon discovering what became known as the Archimedes Principle, a scientific theory about buoyancy. So it makes sense that Spector has named the woke school in question Eureka Day. Todd Rosenthal’s set features blue chairs, red, orange, and yellow trapezoid tables that are rearranged into geometric shapes, posters of Ruth Bader Ginsburg, Albert Einstein, Maya Angelou, Sandra Day O’Connor, and Michelle Obama, and a sign that reads “Social Justice” under a placard that proclaims, “Berkeley Stands United Against Hate.” Clint Ramos’s naturalistic suburban costumes are highlighted by the long, fussy frocks worn by Suzanne.

Tony winner Anna D. Shapiro (August: Osage County, This Is Our Youth) directs with a sweet glee, while sound designers Rob Milburn and Michael Bodeen know just when the laughs are coming, particularly during the Community Activated Conversation, when David Bengali’s projections take over and the characters’ discussion fades into the background.

The ensemble is outstanding: Tony nominee Gray (Natasha, Pierre, and the Great Comet of 1812, Hadestown) is cool and collected as the determined Carina, who can’t believe what the board is doing; two-time Tony nominee Hecht (Summer, 1976, Fiddler on the Roof) is delightful as the nervous, jittery Suzanne, punctuating her dialogue with wonderful sighs and grunts; Tony winner Irwin (Who’s Afraid of Virginia Woolf?, On Beckett) is tender as the mild-mannered, oblivious Don; Emmy nominee Middleditch (Silicon Valley) adds humanity to the selfish Eli; and Chelsea Yakura-Kurtz (How the Light Gets In, Unrivaled) beautifully captures Meiko’s evolving value system as she reconsiders being part of the team.

As funny as Eureka Day is, it tackles some hard-hitting subjects, from race and income inequality to religion and health care; the executive committee is so wrapped up in DEI that they miss what is right in front of them, stirring up more trouble with their inability to follow old-fashioned rules and face the truth of what is really happening in their school, to the students.

At one point, the other members of the committee explain to Carina how there was controversy over a recent eighth-grade production of Peter Pan. “I don’t know what they were thinking,” Suzanne recalls. “We came to what I thought was a very [good agreement] / we set the production in Outer Space / and that really solved the [problem],” Don says. “So then all the kids got to fly,” Eli adds, as if that were the only solution, while Carina can barely accept what she has gotten herself into.

Fortunately, Eureka Day does not have to worry about any such controversies, as it gets it all right, flying high from start to finish.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]