this week in broadway

HARRY POTTER AND THE CURSED CHILD

Students cheer on their Hogwarts house in Harry Potter and the Cursed Child (photo by Manuel Harlan)

Lyric Theatre
214 West 43rd St. between Broadway & Eighth Ave.
Wednesday – Sunday through May 12, 2019, $80-$199 per part
www.harrypottertheplay.com/us
www.lyricbroadway.com

In the interest of full disclosure, I have an embarrassing public confession to make: I have not read a single page of any Harry Potter book, nor have I seen any of the films. But that didn’t prevent me from having a jolly good time at Harry Potter and the Cursed Child, the two-part, nearly $70 million extravaganza that is scheduled to run at the completely refurbished Lyric Theatre through May 2019. Yes, there were plenty of occasions when many audience members, including lots of kids in Potter garb, laughed, gasped, sighed, and applauded for reasons unbeknownst to me, but Tony winner Tiffany (Once, Black Watch) does an excellent job of making Potter neophytes feel more than welcome; in addition, a cheat sheet in the Showbill identifies the main characters and outlines the timeline of events from the books. The five-hour epic was written by Jack Thorne, based on an original story by Potter creator J. K. Rowling, writer Jack Thorne, and Tiffany. The show begs everyone who sees it to #KeepTheSecrets, and I fully intend to; any character- or plot-related information I divulge can be found on the official website, so I will do my best to give away nothing more.

Harry (Jamie Parker) has to help get the gang out of trouble in Broadway extravaganza (photo by Manuel Harlan)

If you don’t want to know anything about the plot or which characters are even part of the story, you should skip this paragraph, but it could serve as necessary context for those unfamiliar with the Potter universe. Harry Potter and the Cursed Child takes place nineteen years after the seventh and final book, 2007’s Harry Potter and the Deathly Hallows. Harry (Jamie Parker) is married to Ginny (Poppy Miller) and working at the Ministry of Magic. They have three children, the youngest being Albus (Sam Clemmett), who is not particularly thrilled to bear the legacy of his legendary father. That’s all the specifics you’re going to get out of me, except that Noma Dumezweni is Hermione Granger, Paul Thornley plays Ron Weasley, Alex Price is Draco Malfoy, and Anthony Boyle is terrific as his son, Scorpius. The cast also includes Jessie Fisher, Susan Heyward, Geraldine Hughes, Edward James Hyland, Byron Jennings, and David St. Louis in key roles, but to tell you who they’re portraying would give far too much away. Suffice to say that Thorne and Tiffany do a great job of giving everyone their due.

Much of the magic is orchestrated by Hagrid (Brian Abraham) in Harry Potter epic at the Lyric Theatre (photo by Matthew Murphy)

The play builds steadily, with each act more exciting than the previous one, although there is some repetition, in addition to more than a bit of questionable science regarding the time-space continuum. Christine Jones’s sets, which range from the Hogwarts facade to the Forbidden Forest, from a Quidditch match to platform 9¾, change with the help of a large ensemble cast in full costumes (by Katrina Lindsay), moving across the stage to music by Imogen Heap in choreographed near-dances by Steven Hoggett, involving suitcases, a rolling ladder, and other objects in fun ways; you’ll expect the players to break out into song at any moment, but fortunately they don’t. As the tension grows, so does the magic (designed by Jamie Harrison), which is primarily analog, avoiding too much high-tech, although there are moments of dazzling projections, shifting characters, and — well, I’m not going to tell you about that, or that, or that, either, but you’ll love it. Be sure to wander around the lobby during intermission, where there are lots of visual treats, from the wallpaper to the carpeting. One of my favorite moments actually occurred outside the Lyric, which features a glowing billboard and a child in a nest high above. I had arrived at the theater early so watched the crowd as it lined up and prepared to go through the scanners. I then saw one of the actors walking down the street and approach the stage door. The security guard asked a small group of costumed girls to wait as the actor went into the theater. The girls paid the actor no mind; little did they know that pure evil had just made room for pure evil. Such are the many secrets of this clever little play, which took London by storm and is now doing the same on Broadway.

CAROUSEL ON BROADWAY

Julie Jordan (Jessie Mueller) and Billy Bigelow (Joshua Henry) fall in love in Carousel revival at the Imperial (photo by Julieta Cervantes)

Imperial Theatre
249 West 45th St. between Broadway & Eighth Ave.
Tuesday – Sunday through January 6, $59-$169
carouselbroadw ay.com

Pardon the pun, but the matinee I saw of the Broadway revival of Rodgers & Hammerstein’s beloved Carousel at the Imperial Theatre had more than its share of ups and downs, including something I had never before experienced in a theater. About ten minutes into the first act, which begins with a beautiful dialogue-free ballet with gorgeous new choreography by New York City Ballet soloist and resident choreographer Justin Peck, a loudspeaker announcement asked the actors to leave the stage due to a medical emergency in the audience. Theater personnel and doctors tended to an ill man at the far right side of the orchestra for about fifteen minutes before the show resumed, restarting shortly before the place where it had been stopped. Later, about ten minutes into the second act, during what is the emotional high point of the narrative, cries of help could be heard from a few rows behind where I was sitting. Again, the voice came over the loudspeakers, asking the cast to leave the stage because of another medical emergency. This time it appeared to be a small child choking; it took another ten minutes or so for things to calm down as the boy, who seemed to be okay, and his family were escorted into the lobby. Again, the show then restarted a moment before it had been stopped. It is a tribute to the cast and crew that both situations were handled gracefully and professionally, but it’s still an unusual occurrence that left an uncomfortable aura in the air — much as the plot of Carousel does, especially today.

Julie Jordan (Jessie Mueller) delights in hearing about best friend Carrie Pipperidge’s (Lindsay Mendez) trip to New York City in Carousel (photo by Julieta Cervantes)

The production itself, directed by three-time Tony winner Jack O’Brien (The Coast of Utopia, Hairspray), with splendid costumes by Oscar and Tony winner Ann Roth (The English Patient, The Nance), lovely sets (the carousel itself earns deserved applause) by four-time Tony winner Santo Loquasto (Café Crown, Hello, Dolly!), and wonderful orchestrations by EGOT winner Jonathan Tunick (Titanic, A Little Night Music), is first-rate all the way, even with some critical miscasting and the always problematic second act. The plot, adapted from the 1909 Hungarian play Liliom by Ferenc Molnár, is the classic tale of a good girl falling for a bad boy and trouble ensuing. Local mill worker Julie Jordan (Jessie Mueller) is attracted to carousel operator Billy Bigelow (Joshua Henry), agreeing to meet him one night in a park. She brings along her best friend and coworker, Carrie Pipperidge (Lindsay Mendez), who is not sure this is the best idea. Billy arrives, proving to be a bit of a cad, but even when a policeman (Antoine L. Smith) advises Julie of Billy’s questionable dealings with other women, she can’t stop herself, risking her job and more to be with him. Meanwhile, Carrie is in love with the much less dangerous wannabe herring king, Enoch Snow (Alexander Gemignani). Billy and Julie marry and have a child, but money is scarce, so when Jigger Craigin (NYCB principal dancer Amar Ramasar) approaches Billy with a plan to make a quick buck, Billy takes the chance, and tragedy follows.

Opera superstar Renée Fleming makes a point as Nettie Fowler in Broadway revival of Rodgers & Hammerstein classic (photo by Julieta Cervantes)

The immensely talented Mendez (Significant Other, Dogfight) is charming as the dependable Carrie; Gemignani (Les Misérables, Sweeney Todd) is terrific as her beau, forward-thinking in business and woefully conservative otherwise; Tony winner Mueller (Beautiful: The Carole King Musical, Waitress), who played Carrie to Kelli O’Hara’s Julie in a 2013 Live from Lincoln Center concert version with the New York Philharmonic, again shows off her marvelous voice and wide-eyed innocence; retired opera star Renée Fleming excels as seaside spa owner Nettie Fowler; Margaret Colin (Defiance, The Columnist) is effective as carousel owner Mrs. Mullin; and Tony nominee John Douglas Thompson (Jitney, The Emperor Jones) is stoic as the mysterious Starkeeper, who keeps watch over all the goings-on until getting more involved in the fantastical second act. But two-time Tony nominee Henry (The Scottsboro Boys, Violet) is out of place, like he’s in a different show, his anger and rage so overwhelming that it becomes hard to imagine why Jessie first falls for him, then stays with him. O’Brien doesn’t shy away from the domestic abuse subplot, although it is difficult to watch in the #MeToo generation. “I knew why you hit me. You were quick-tempered and unhappy. That don’t excuse it. But I guess I always knew everything you were thinking,” Julie says, while Nettie sings, “What’s the use of wond’rin’ if he’s good or if he’s bad. He’s your feller, and you love him — that’s all there is to that.” The show debuted on Broadway in 1945 and has been revived in 1957 and 1994, in addition to being made into a film in 1956; it features such timeless songs as “June Is Bustin’ Out All Over” and “You’ll Never Walk Alone” as well as an emotional ballet in the second act that begins as a solo, performed here by NYCB principal dancer Brittany Pollack. But the scenes involving heaven feel dry and stale, detracting from the otherwise powerful, earthy story. This Carousel reaches for the brass ring but comes up too short.

MEAN GIRLS

August Wilson Theatre
245 West 52nd St. between Broadway & Eighth Ave.
Tuesday – Sunday through July 7, $99 – $199
meangirlsonbroadway.com

Last year the August Wilson Theatre was home to Groundhog Day, an outstanding, underappreciated musical based on Harold Ramis’s 1993 hit comedy. It’s nearly déjà vu all over again as the theater is now the residence of another outstanding musical version of a beloved film, Mean Girls; however, with tickets currently available through March 2019, it may be there a whole lot longer than Groundhog Day was. And like its predecessor, Mean Girls gets just about everything right; the only thing clearly missing are cheese fries at the concession stand. Mark Waters’s 2004 film about a new girl experiencing all the awful trials and tribulations of high school was written by Tina Fey, who also wrote the book of the musical, doing a superb job of reimagining and updating the story for the Broadway stage, at least until the disappointingly sappy ending. The show opens with outcasts Damian Hubbard (Grey Henson) and Janis Sarkisian (Barrett Wilbert Weed) warning the audience about what they are going to see. “It’s a cautionary tale / of fear and lust and pride, / based on actual events / where people died,” the proudly gay Damian sings. Offbeat artist Janis adds, “No one died. / But how far would you go / to be popular and hot? / Would you resist temptation?” After growing up in Kenya with her crunchy archaeologist parents and a vast array of animal friends, Cady Heron (Erika Henningsen) is thrilled to go back to the States for high school with other teenagers — but she quickly learns that it’s survival of the fittest, not all that less brutal than the animal kingdom, as packs are formed, turf is defended, and prey is attacked. When Cady is asked to sit with the Plastics — the cool-chick clique run by the vain and nasty Regina George (Taylor Louderman), with her loyal sidekick Gretchen Wieners (Ashley Park) and the not-too-bright sexpot Karen Smith (Kate Rockwell) — Damian and Janis try to convince her not to. “Regina George is not cool! She’s a scum-sucking fart-mouth life ruiner!” Janis declares, then asks Cady to spy on the Plastics for them. Cady doesn’t want to be a mole, but she’s so desperate to be accepted at school that she decides to go along with it. And the more she learns about the Plastics, the more she learns about herself, and life, and not always liking what she discovers.

Mean Girls is a bittersweet, raucous tale of fitting in, whether child or adult. “Where do you belong?” Damian sings early on. “We all get a box / That’s where we go / It’s stifling / But at least you know / So, where do you belong?” The lyrics, by Tony nominee Nell Benjamin (Legally Blonde, The Explorers Club), don’t fit in a box either, nor does the music, by Emmy winner Jeff Richmond (Fey’s husband), ranging from rock to rap. (The orchestrations are by John Clancy.) Fey brings the classic tale of the new girl into the present, incorporating environmentalism and cyber bullying as well as a modern-day feminist angle, with her trademark fresh but sharp sense of humor. Henningsen (Les Misérables, Dear World) is delightful as Cady, the role famously played by Lindsay Lohan in the film, making it her own. Louderman (Kinky Boots, Bring It On), plays the devilish Regina to the hilt, with outrageously funny support from Park as Gretchen, who brings down the house with “What’s Wrong with Me?,” trying to find her own identity, and Rockwell (Bring It On, Rock of Ages) as Karen, who gives a nice twist to the dumb blonde stereotype. Tony nominee Kerry Butler (Xanadu, Disaster!) does triple duty as Cady’s mom, calculus teacher Ms. Norbury (played by Fey in the film), and Regina’s ultrachic mother, who gets to utter, “We haven’t had new meat in our little lady taco in so long!” Weed (Lysistrata Jones, Cabaret) and Henson (The Book of Mormon) make a great team as Janis and Damian, guiding Cady, and the audience, through the horrors of high school; the two characters would fit right in if there were a remake of The Breakfast Club. The all-around strong cast also includes Kyle Selig as Aaron Samuels, Regina’s ex-boyfriend who takes a liking to Cady; Cheech Manohar as Kevin Gnapoor, Mathlete extroardinaire; and Rick Younger as Mr. Duvall, the beleaguered principal.

Fey leaves in most of the key quotes from the film without merely rehashing the movie. Tony-winning director and choreographer Casey Nicholaw (The Book of Mormon, Aladdin) maintains a frenetic pace with near-constant movement as background characters don’t just stand still and two-time Tony winner Scott Pask’s (The Book of Mormon, The Pillowman) fab set keeps changing, from schoolrooms to bedrooms, bathrooms to locker rooms. The video design, by Tony winner Finn Ross and Adam Young, wonderfully captures the tumult and gestalt of the modern-day teenager, as updated references ring true and secrets and shaming are shared on social media. “It’s just . . . sometimes I feel like an iPhone without a case,” Gretchen explains. “Like, I know I’m worth a lot, and I have a lot of good functions, but at any time I could just shatter.” But there are also plenty of truths that have not changed over the years, regardless of technological advances or changing sociopolitical standards and mores. “I just wish we could all get along like we used to in elementary school,” a teary girl says. “I wish that I could bake a cake made out of rainbows and smiles, and we could all eat it and be happy.” (Good luck with that.) Oh, and, of course, watch out for that bus, and if you’re going on a Wednesday, be sure to wear pink.

FROZEN

Elsa (Caissie Levy) becomes Queen of Arendelle as sister Anna (Patti Murin) looks on in wonder in Frozen (photo by Deen van Meer)

St. James Theatre
246 West 44th St. between Broadway & Eighth Aves.
Tuesday – Sunday through July 2, $99 – $199
frozenthemusical.com

It’s ice cold at the St. James Theatre, and I’m not talking about the air-conditioning inside or the weather outside the venerable Broadway venue. I’m referring to what is happening onstage, where Disney has turned its Oscar-winning 2013 animated film into a special-effects-laden musical. Attempting to capture the runaway success of such other animation-to-Broadway hits as Aladdin, Beauty and the Beast, and The Lion King, Disney has instead made a mess of the plot, which was inspired by Hans Christian Andersen’s story “The Snow Queen,” and added nothing memorable in the expanded score. In case you’re not familiar with the story: In a faraway kingdom, King Angarr (James Brown III) and Queen Iduna (Ann Sanders) have two young daughters, Anna (Audrey Bennett or Mattea Conforti) and Elsa (Brooklyn Nelson or Ayla Schwartz). Elsa is gifted (the gift is a curse, of course) with icy magic she can’t control. One day Elsa freezes part of Anna, so Pabbie (Timothy Hughes) and Bulda (Olivia Phillip) of the Hidden People save Anna but cannot remove the magic from Elsa, who despairs of her power. The parents separate the children to avoid another incident, but the adults are soon lost at sea — this is Disney, after all, where parents rarely fare well. Ten years later, Elsa (Caissie Levy) is ready to be queen of Arendelle; at the coronation ceremony, the sisters are reunited. The Duke of Weselton (Robert Creighton) makes a play for the queen, while Anna (Patti Murin) falls madly in love with Prince Hans (John Riddle) of the Southern Isles. Queen Elsa once again loses control of her magic and this time dooms Arendelle to an eternal winter. Unable to reverse the spell, she returns to her northern castle, where she plans to live alone so she can never harm anyone again. Anna is determined to brave the brutal cold and get to her sister, joined by ice seller Kristoff (Jelani Alladin), his trusted sidekick, Sven the reindeer (Andrew Pirozzi), and Olaf (Greg Hildreth), the girls’ childhood snowman come to life. Danger awaits along their treacherous journey, even with a brief respite supplied by Oaken (Kevin del Aguila), who offers them hot drinks and the use of a sauna. But the closer they get to the castle, the more it looks like they’re not going to make it alive.

Kristoff (Jelani Alladin) and Sven the reindeer (Andrew Pirozzi) take a break in Disney musical (photo by Deen van Meer)

The Broadway musical features a book by Jennifer Lee, who wrote the screenplay and codirected the movie with Chris Buck, and music and lyrics by Kristen Anderson-Lopez and Robert Lopez, who wrote the eight songs for the film and an additional dozen for the show. “Do You Want to Build a Snowman?” is still fun, and Levy gets to belt out the Oscar-winning “Let It Go” as the first-act closer, but many of the other songs don’t fall in sync with the narrative, bringing everything to a stop as the orchestrations soar just because they can. Murin (Lysistrata Jones, Wicked) has a goofy charm as Anna and bonds well with Riddle (The Visit, The Little Mermaid), but she and Alladin (Sweetee, Choir Boy) never generate the necessary heat between them. Hildreth (The Robber Bridegroom, Peter and the Starcatcher) nearly steals the show as Olaf, who manually operates the puppet from behind, when it is not already being stolen by Pirozzi (Movin’ Out, Hairspray Live!), who portrays Sven by arching over and using stilts inside the reindeer suit. (The reindeer’s blinking is creepy in a good way.) The costumes are by Tony winner Christopher Oram (The Cripple of Inishmaan, Evita), who also designed the ever-changing set, ranging from the girls’ bedroom to an ornate room in the castle, from a mountain trading post to ice daggers rising out of the floor. Levy (Les Misérables, Ghost) is in strong voice but gets overwhelmed by the special effects (designed by Jeremy Chernick, with lighting by six-time Tony winner Natasha Katz, sound by four-time Tony nominee Peter Hylenski, and projections by Tony winner Finn Ross), as does Tony winner Rob Ashford’s (Thoroughly Modern Millie, Cry-Baby) choreography and Tony winner Michael Grandage’s (Red, Merrily We Roll Along) direction. The cracking sounds and images as the ice spreads across the stage and even onto the walls of the theater are impressive, but they also grow more and more distracting, but perhaps that was done on purpose as the story grows holes that you can drive an ice truck through.

LOBBY HERO

Michael Cera and Brian Tyree Henry star in Broadway debut of Kenneth Lonergan’s Lobby Hero (photo by Joan Marcus, 2018)

The Hayes Theater
240 West 44th St. between Broadway & Eighth Ave.
Tuesday – Sunday through May 13, $99 – $169
2st.com

Kenneth Lonergan is en fuego. In 2014, the playwright and filmmaker’s 1996 work, This Is Our Youth, debuted on Broadway. Lonergan’s first play to make it to the Great White Way earned a Tony nod for Best Revival. Two years later, his off-Broadway play Hold on to Me Darling had an extended run at the Atlantic Theater, and the Bronx-born Lonergan’s indie film Manchester by the Sea was nominated for six Oscars, including Best Picture and Best Original Screenplay; Lonergan won the latter. And no sooner did Lonergan’s 2001 play, Lobby Hero, start accumulating accolades for its current Broadway revival than it was announced that his Pulitzer Prize–nominated 2000 work, The Waverly Gallery, will make its Broadway bow in the 2019 season. Lobby Hero also has the honor of being the first play produced at Second Stage’s first home on Broadway, the newly remodeled Hayes Theater on West Forty-Fourth St., where the show continues through May 13.

Chris Evans makes his Broadway debut as a tough-talking cop opposite Bel Powley at the Hayes Theater (photo by Joan Marcus, 2018)

In Lobby Hero, Lonergan explores personal and professional responsibility while addressing police brutality, sexual harassment, misogyny, the prison system, militarism, lust, and racism; he made only minor tweaks to the original play, and more than a decade after he wrote it, it still fits in extremely well in this #MeToo, Black Lives Matter era. Michael Cera, who starred in the revival of This Is Our Youth and will be in The Waverly Gallery with Elaine May, plays the title character, Jeff, a wisecracking, ne’er-do-well security guard at a Manhattan apartment building. Jeff, who is trying to get his life on track, works for William (Brian Tyree Henry), known as the Captain, a straightforward boss who likes to think he is tough but fair. After Jeff fails to have a police officer who entered the building sign the book, William tells him, “Look, if you stick to the rules, then you never have to have a discussion about whether or not you were justified not sticking to the rules.” Jeff, who thinks he deserves a break, responds, “I am like the most conscientious guy in this whole building. The rest of these guys are like a bunch of crack addicts and degenerates.” The cop who refused to sign in is the hard-headed Bill (Chris Evans), who is in line for a gold shield. He comes by often to call on Mrs. Heinvald in 22J, making his new partner, Dawn (Bel Powley), wait downstairs while he conducts his business. Jeff develops an instant crush on Dawn, who is still on her probationary period after graduating from the academy, but William, a practical man who admits he is “no fun,” puts the kibosh on that. “Whatever you do, you’re just an imitation cop and she’s a real cop. And if you get involved with some lady policewoman, it is a sure bet you’re gonna end up feeling outranked and outclassed,” he says. Ever the jokester, Jeff replies, “I always feel that way. My last girlfriend was a tollbooth collector, and she intimidated the shit out of me. At least if I was going out with a cop, I’d feel, you know, somewhat safe.” When William has a difficult decision to make regarding his brother’s arrest for a gruesome crime, it sets in motion a series of truths and lies that impacts all four of the characters’ lives, changing the power dynamic as they each search for answers to some dangerous situations.

David Rockwell’s set gives the audience different angles on potent situations (photo by Joan Marcus, 2018)

Lobby Hero takes place on David Rockwell’s open, revolving set, which offers several different angles of the lobby as well as the street outside on the cops’ beat. Cera (Juno, Superbad) and Emmy nominee Henry (Atlanta, The Book of Mormon) have an immediate chemistry onstage, like the classic comic and straight man act; Cera is fun as the quipster who seems to really be a good if goofy guy, while Tyree is sensational as the oh-so-serious William, who just wants himself, and everyone he comes into contact with, to do the right thing all the time. Oddly, while Cera and Henry fill their roles with believability and honesty, Evans (Captain America, Snowpiercer), in his Broadway debut, and Powley (Arcadia, The Diary of a Teenage Girl) feel like stereotypes, often going too far over the top, Evans overplaying Bill’s self-importance, Powley using a distractingly childish voice as Dawn. (Cera and Evans also appeared together as adversaries in the 2010 film Scott Pilgrim vs. the World.) Fortunately, director Trip Cullman (Six Degrees of Separation, Significant Other) doesn’t let the characterizations get too far out of hand, as Cera and Henry — both worthy of Tony nominations — bring it all back down to earth. Lonergan (You Can Count on Me, Margaret) writes incisive, riveting dialogue that makes its points with intelligence as it touches on key issues. “You don’t worry about if the world is bad or good, because I know goddamn well it’s bad,” William tells Jeff. “You just do your best and let the chips fall where they may.” But Lonergan takes it just that much further, pointing out that we all have a part to play in our destinies. “I feel a little bit responsible for the mess you’re in,” Jeff says to Dawn, who responds, “You’re not responsible. I’m responsible. I’m totally responsible.” And once again, the hotter-than-hot Lonergan is responsible for shining a light on our everyday foibles as well as the current state of our country.

THREE TALL WOMEN

Laurie Metcalf helps Glenda Jackson to her favorite chair as Alison Pill looks on in Three Tall Women (photo © Brigitte Lacombe)

Golden Theatre
252 West 45th St. between Broadway & Eighth Ave.
Tuesday – Sunday through June 24, $47 – $159
threetallwomenbroadway.com

Edward Albee’s 1991 Pulitzer Prize–winning play, Three Tall Women, is finally making its Broadway debut, in an elegant, exquisitely rendered production directed by Joe Mantello at the Golden Theatre, featuring American actress Laurie Metcalf, Canadian actress Alison Pill, and British legend Glenda Jackson. The two-act intermissionless play, an ingenious depiction of aging, among other things, takes place in the 1990s in the lush bedroom of a sneering, wealthy widow identified in the program as A (Jackson), who is in her early nineties. She lives with her wisecracking, pessimistic caretaker, B (Metcalf), who is fifty-two. They have been joined by the deadly serious C (Pill), a twenty-six-year-old sharply dressed lawyer who needs A to sign some forms she’s been ignoring. Each woman represents a different class and generation, youth, middle age, and old age, each with different values, desires, and expectations, but as B likes to point out, everyone is on their way toward death. “Start in young,” she says, referring to children. “Make ’em aware that they’ve got only a little time. Make ’em aware that they’re dying from the minute they’re alive.” Amid visits to the bathroom, anecdotes about the past, and legal papers to be signed, the women deliver rapid comebacks with plenty of snark as they consider the state of their lives. But then a paradigm shift occurs, and in the second act there is a slight but key change in the set and in the characters, who are no longer quite what they were previously. Once the audience realizes what is happening, there are likely to be more than a few thrilled gasps of recognition as Albee peers ever deeper into the life of the female species, leading to an utterly breathtaking finale.

Three Tall Women was inspired by Albee’s troubled relationship with his adoptive mother. “We had managed to make each other very unhappy over the years, but I was past all that, though I think she was not,” Albee wrote in the introduction to the published 1994 edition of the play. “I harbor no ill-will toward her; it is true I did not like her much, could not abide her prejudices, her loathings, her paranoias, but I did admire her pride, her sense of self. . . . No, it was not a revenge piece I was after, and I was not interested in ‘coming to terms’ with my feelings toward her.” It is precisely for those reasons that Three Tall Women works so well. There are no heroes or villains, no black-and-white depictions of good and evil. A, B, and C all have their own strengths and weaknesses; despite the specificity of their lives, they are everywoman, experiencing the ups and downs of everyday existence, since death is the great equalizer. Few male playwrights have drafted such female characters as Albee, who also displayed that vast skill in such other works as The Lady from Dubuque; The Goat, or Who Is Sylvia?; Who’s Afraid of Virginia Woolf? and Pulitzer Prize winners A Delicate Balance and Seascape.

Alison Pill, Glenda Jackson, and Laurie Metcalf star in Broadway debut of Edward Albee’s Three Tall Women (photo © Brigitte Lacombe)

The eighty-one-year-old Jackson (Strange Interlude, A Touch of Class), in a tight hairstyle that is a character unto itself, is feisty and glamorous in her first Broadway role since she was nominated for a Tony in Macbeth in 1988, having left acting to pursue a career in politics, serving as an MP from 1992 to 2015; her A is a bigoted wealthy widow, mother, and former grande dame who is refusing to come to terms with the maladies that befall the elderly, no matter how rich they might be. The sixty-two-year-old Metcalf (A Doll’s House Part 2, The Other Place) gives a homey charm to the sarcastic spinster B. And the thirty-two-year-old Pill (Blackbird, The Lieutenant of Inishmore) holds her own as the practical C, who has dreams of a great future for herself despite seeing what lies ahead. (Among the other trios to have played the three women are Myra Carter, Marian Seldes, and Jordan Baker at the Vineyard in 1994 and Maggie Smith, Frances de la Tour, and Anastasia Hille in the West End that same year.) Two-time Tony winner Mantello (The Humans, Love! Valour! Compassion!) lets the three actresses strut their stuff with minimal intrusion on Miriam Buether’s opulent bedroom set, which is centered by the stately bed itself, here representing birth, sex, and, ultimately, death.

ROCKTOPIA

Rocktopia blends classic rock and classical music on Broadway (photo by Matthew Murphy)

The Broadway Theatre
1681 Broadway at 53rd St.
Through April 29, $39 – $187
rocktopia.com

Much of Rocktopia, which opened Tuesday night at the Broadway Theatre, is a curiosity, a blending of classic rock and classical music that in theory might be a cool idea but in execution could be problematic. Rocktopia is a different kind of jukebox musical, with no narrative, consisting of overly familiar songs performed by pop, rock, theater, reality show, and opera singers, a five-piece rock band, the thirty-person New York Contemporary Choir, and the twenty-piece New York Contemporary Symphony Orchestra. Conceived by Trans-Siberian Orchestra member and Broadway veteran Rob Evan (Jekyll and Hyde, Les Misérables) and American conductor Randall Craig Fleischer, the traveling project is an up-and-down affair, as vocal histrionics get carried away, the setlist is about as standard as it comes, and amateurish, seemingly unrelated visuals are projected onto fifteen large, vertical piano keys at the top rear of the stage. But then something magical happens, where it all suddenly comes together for an absolutely smashing last few numbers that brought the crowd to its feet, everyone singing and dancing with an intoxicating fervor.

Celtic violinist Máiréad Nesbit and vocalist Rob Evan rock out at the Broadway Theatre (photo by Matthew Murphy)

The show opens with the pairing of Richard Strauss’s “Also sprach Zarathustra” and the Who’s “Baba O’Riley,” sung by Evan and Tony Vincent (American Idiot, Jesus Christ Superstar), followed by Mozart’s “Eine kleine Nachtmusik” with Styx’s “Come Sail Away,” performed by Evan, Vincent (The Voice), Chloe Lowery (Trans-Siberian Orchestra), and Kimberly Nichole (The Voice). The double shot gets the point across but without any fireworks, as the melding of the two genres felt too obvious and separate. Special guest Pat Monahan of Train, who will be part of the show through April 6 (Twisted Sister’s Dee Snider is the guest April 9-15, followed by Cheap Trick’s Robin Zander April 23-29), takes center stage to get the Led out (first with Beethoven, then Puccini), but Stravinsky/Hendrix is out of place, as is Mussorgsky/U2, the latter accompanied by documentary footage of poor communities. However, it’s a thrill to see diva Alyson Cambridge, who has performed at the Met and the Washington National Opera, lend class to the festivities by singing Handel’s “Lascia ch’io pianga” and Lucio Dalla’s “Caruso” and also duetting with Evan. On nearly every song, Celtic violinist Máiréad Nesbitt sparkles, playing her fiddle as she flits about the stage like a mad fairy or sprite. There actually is a rhyme and reason for the visuals; in the online Rocktopia study guide, the evening moves from “Creation/Birth,” “Adolescence,” and “Experimentation” through “Dreams,” “Oppression/Rebellion,” and other aspects of the human condition, not that you would know that from what’s happening onstage. And we’re still trying to figure out the inclusion of John Denver in a video tribute to such dead rock stars as Jimi, Janis, Jerry, Jim, George, John, Prince, and Bowie, as well as photos of Eleanor Roosevelt, Amelia Earhart, and, yes, Anne Frank during the theme from Schindler’s List. Meanwhile, the woman vocalists and Nesbitt look like they just stepped out of a Mad Max movie, wearing postapocalyptic gowns designed by Cynthia Nordstrom, and Vincent appears to be doubling for Robin Lord Taylor’s Penguin on Gotham.

Rob Monahan of Train is Rocktopia’s special guest through April 6 (photo by Matthew Murphy)

And then it happens. Samuel Barber meets Queen, Beethoven takes on Journey, and Gershwin intertwines with Queen in all the ways Evan and Fleischer intended, the classical music and the classic rock coming together, weaving in and out of each other, sending electricity across a room that suddenly comes alive as one. Guitarist Tony Bruno, bassist Mat Fieldes, drummer Alex Alexander, pianist and music director Henry Aronson (Rock of Ages, Grease), Nesbitt, the choir, the orchestra, and the singers — if still not the projections — bring down the house, leaving no one in their seat. Sure, it’s cheesy and extremely safe, but it’s also tons of fun if you just let yourself go. It might not be quite the revolution Evan and Fleischer intended, and it’s far more likely to attract fans of American Idol and The Voice and baby boomers who go to Jones Beach to see 1970s retreads rather than classical music lovers who go to the Met and Lincoln Center for opera and the symphony, but you can’t have everything. And what’s wrong with a little mindless entertainment in these hard times?