BOESMAN AND LENA – Signature Theatre
In 1992, the last time Athol Fugard’s BOESMAN AND LENA was seen on the New York stage, critic Frank Rich observedit was “a universal work that might speak to audiences long after apartheid had collapsed”. With Signature Theatre’s profound, searing revival at Pershing Square, Rich’s observation emerges more prescient than ever. And under the incisive direction of Yael Farber, the play matures as timeless existential statement beyond the South African apartheid landscape of d
MY VERY OWN BRITISH INVASION – Paper Mill Playhouse
MY VERY OWN BRITISH INVASION, experiencing a world premiere at the Paper Mill Playhouse, is the penultimate cut-and-paste jukebox musical. Take a story suggested by Peter Noone, based on himself as lead singer of the 1960s British pop group Herman’s Hermits and glue-in 27 pop ditties (plus 4 reprises), including all of the Hermits hits plus some chart-toppers from the Animals, and (very early) Beatles, Stones , etc. The repetitive nature of the musical format is as mind-n
10X10 NEW PLAY FESTIVAL - Barrington Stage Company
The brightest, freshest oasis in the bleakest, wettest Berkshire winter is on Barrington Stage Company’s St. Germain Stage in Pittsfield – it’s 8th annual 10x10 NEW PLAY FESTIVAL. The ten, ten minute plays, divided by one intermission, feature ten playwrights, who , each with remarkable economy, illuminate some aspect of life - in the everyday, in the home or in the news - as we are living it like it or not in this 2019 winter of discontent. Wisely, 10X10 bookends the perf
MERRILY WE ROLL ALONG - Roundabout Theatre Company
Roundabout Theatre is promoting Fiasco’s production of MERRILLY WE ROLL ALONG, Stephen Sondheim’s least successful Broadway show, as “re-imagined”. Scaled down is more like it. The good news is that three main characters present clearly, the bad news is that all the frailties of George Furth’s book, adapted from the 1934 play by George S. Kaufman and Moss Hart, are on plain display. The central problem any production of MERRILY since its brief 1981 original run has been tel
LONDON THEATRE DIARY Feb 2 – 9
Coincidentally, a glorious week of theatre - Saturday evening to the next Saturday evening - was bookended with two tales of women overcoming childhoods of impoverishment and loneliness, although the treatments couldn’t be more different. The first, at the splendid, new Bridge Theatre in Southwark near the southern foot of London Bridge, featured the magnificent Laura Linney reprising, from last summer, her astonishing one woman drama MY NAME IS LUCY BARTON. The last theatr
