Off-B'way Update: MCC Season

Leonardo DiCaprio and Johnny Depp
in What's Eating Gilbert Grape

MCC Theater has announced it 40th anniversary 2026-27 season including two new American plays and a musical adaptation of a beloved film and novel. First up is Anon--a tempest at our kitchen table by Anne Washburn (Mr. Burns: A Post-Electric Play), directed by Anne Kaufman, previewing Sept. 25 for an Oct. 13 opening. When a gay pride flag is flown in their suburban Texas neighborhood, two families freak out. In January, Lloyd Suh's The Heart Sellers tells the story of two immigrant strangers sharing their first Thanksgiving in America. June brings the world premiere of a musical based on What's Eating Gilbert Grape? with a book by Peter Hedges based on his 1991 novel (the basis of the 1993 movie starring Johnny Depp, Leonardo DiCaprio and Juliette Lewis). Music and lyrics are by Adrian Enscoe, Christopher Sears, Sydney Shepherd, and Regina Strayhorn. Anne Kaufman returns to MCC to direct.

"We've always sought to provoke conversations that don't happen anywhere else - and 40 years in, that energy feels stronger than ever. Our Anniversary Season features three very different, unabashedly American stories that share an urgency that is unmistakably of the moment," said Co-Artistic Director Bernie Telsey. "Will (Cantler, co-artistic director) and I are grateful to explore these worlds with the adventurous artists, audiences, and supporters who make MCC what it is. This season will be a celebration for everyone. Find us in the lobby, we can't wait to talk to you!"

Post-Tony Thoughts

P!nk at the Tonys.
Yes, I took the picture from my TV set.

It's been more than a week since the Tony Awards and I've been struggling to figure out what I want to say about the annual celebration of all things Broadway. It was a fairly good production. When pop music star P!nk who has no theater credits at all and whose only connection to the Main Stem is a few of her songs are in the jukebox scores of Moulin Rouge and & Juliet, was announced as the hostess, I was skeptical. Was this merely a desperate ploy to get a new demographic to watch? Also there had been calls to boycott the Tonys because of CBS' parent company Paramount being taken over by the Trump-friendly Ellison family. (Also the producer of Tony winning Best Musical Schmigadoon! is evidently a big MAGA donor.)

To my surprise, P!nk acquitted herself quite well and humbly took on the role of an enthusiastic newcomer from another media not wishes to intrude on the party but to help make it fun. I could have done without the limp comic bits with Darren Criss pretending to be scared of leaping off the balcony and Ariana DeBose offering not-funny hostess advice. The opening number about leading ladies was clever, but I couldn't understand most of the lyrics. P!nk was spectacular in the Chicago tribute and it served as a knock-out audition for her to join the company. The Chorus Line tribute was unnecessary. Once again, the show ran close to four hours (if you count the Pluto TV pre-show) and just like last year they did not mention the Pluto winners on the CBS broadcast (except for the Outstanding Theater Teacher). And the Special Tony Honors winners--entertainment lawyer Loren Plotkin, stage manager Jake Bell, 1/52 Project, creative director Kenn Lubin and the League of Resident Theaters--weren't even mentioned at all. At least on the Oscars, they show clips of the Special Awards handed out earlier in the week.

I got 20 out of 26 right in my predictions. The only real surprise was Ali Louis Bourzgui winning Featured Actor in a Musical for The Lost Boys. I think the vote was split between Andre De Shields of Cats: The Jellicle Ball and Ben Levi Ross of Ragtime who won the Drama Desk and Outer Critics Circle Awards. I was especially glad for Schmigadoon! winning Best Musical, Book and Score. Maybe this will lead to Schmicago (the Apple TV series's second season) making to Broadway and the third season, Into the Schmoods, getting filmed by Apple.

Book Review: Bad Behavior

(Bought at Time and Space Limited in Hudson, NY for $4) Mary Gaitskill's first collection of stories features some pretty twisted souls. Secretary (which was adapted into a 2002 film) features a weird relationship between the titular office worker and her attorney-boss combining elements of S&M, spanking and workplace harassment, but she seems to enjoy it. A Romantic Weekend also borders on sadomasochism, but the two lovers can't seem to agree on what they want. Prostitution is a main element in several of the tales as the heroines grapple with feeling trapped in the world's oldest profession. A customer is the main focus of another story as he falls for a working girl but is shattered when he encounters her in the outside "real" world. Gaitskill portrays these people without judgement. My favorite was the last, longest story, Heaven in which a woman deals with her repressed husband, four children going through different phases of rebellion and a troubled niece who comes to live with the family. Virginia goes through numerous difficulties and tragedies without really examining her life or her feelings and finally accepts her lot. Gaitskill reminds me of A.M. Homes and Lorrie Moore with her short, sharp, detailed observations of characters muddling through challenging but mundane lives.

B'way Update: Paddington, Billy Crystal

Paddington the Musical will
make the transatlantic leap this spring.
Credit: Johann Persson

At this year's Tony Awards, Neil Patrick Harris brought a teddy bear onstage during the opening number and hostess P!nk said, "That's next season." For those viewers who do not obsessively follow theater news, they were referring to a rumored Broadway transfer of Paddington the Musical, a hit London tuner based on the beloved stuffed bear and hero of a series of books and movies. Producer Sonia Friedman just made it official, the Olivier Award-winner will begin performances at the Al Hirschfeld Theater on March 30, 2027 and open on April 18. The score is by Olivier winner Tom Fletcher, book by Olivier winner Jessica Swale and direction by Olivier winner Luke Sheppard. 

Producers Sonia Friedman and Eliza Lumley said, "Producing Paddington The Musical with our extraordinary writing and creative team has been an immense privilege. Paddington Bear has endured for generations because he reminds us of the best of ourselves: kindness, curiosity, empathy and the belief that everyone deserves to belong. Wrapped inside a joyful theatrical adventure, with Tom Fletcher’s exceptional score at its heart, is a story about finding home, family and community in unexpected places. We have been genuinely blown away by the response to the production so far and are thrilled to be bringing it to Broadway. As the home of so many of the world’s great musicals, there is no more exciting place to produce new work than New York, and we cannot wait to share Paddington’s world with Broadway audiences.”

Billy Crystal's 860 will play the Imperial
this fall

Meanwhile, Billy Crystal's solo show 860, centered around the home he lost in the Palisades fire and directed by Tony nominee Scott Ellis has announced dates and a theater. Previews begin Oct. 1 at the Imperial prior to an Oct. 21 opening for a limited 14-week run through Jan. 3, 2027.

Book Review: Up Till Now

(Borrowed from the Jackson Heights library) At the premiere of the first Star Trek movie, William Shatner thought to himself, "Now I don't have to do anymore game shows." In his entertaining autobiography Up Till Now he then launches into several pages describing his quiz show experiences, even hosting a short-lived one with complicated rules and dancing girls. That's the pattern of this unconventional memoir. The chronological narrative will get sidetracked on a tangent and we journey down a rabbit hole. The positive part is that Shatner has had so many interesting tangents in his life and career, it's always a fascinating ride. And it's not just Star Trek anecdotes (he wrote two separate books about his TV and movie voyages aboard the starship Enterprise). Shatner has starred in four different TV shows (after the book was written he continued with a fifth, short-lived sitcom), starred on Broadway with Julie Harris, made movies with Roger Corman, Yul Brynner (who kicked him in the pants for fun), Spencer Tracy and Judy Garland, recorded campy albums, wrote several sci-fi novels, narrated countless documentary features and TV shows, voiced animated characters, jumped out of airplanes, raised horses, and married four times.

He can come across as a pompous ass sometimes, but his career was relaunched when he started laughing at himself, as he does in this book. 

Off-B'way Review: Romeo and Juliet

Ra'Mya Latiah Aikens and Daniel Bravo
Hernandez in Romeo and Juliet.
Credit: Joan Marcus 

Many years ago when I was acting in a community theater production of The Skin of Our Teeth, one of my castmates railed against an all-African-American, Off-Broadway production of The Cherry Orchard, claiming black actors did have the “cultural background” to perform Anton Chekhov’s classic of displacement in a Russian family. What would he have made of Saheem Ali’s politically charged production of Romeo and Juliet currently at the Public Theater’s Delacorte in Central Park? (Ironically it was also the Public Theater which produced that all-black Cherry Orchard.) Ali sets Shakespeare’s immortal tale of star-crossed lovers in what appears to be a little town on the southern side of the U.S.-Mexican border. “Nueva Verona” is listed as the locale in the program. Set designer Maruti Evans places an enormous replica of Trump’s unfinished wall at the back of the stage with huge figures representing death and the Virgin Mary peering over the top. Death is ever present with the main playing area representing a graveyard with tombstones scattered about and three performers in dark robes and sporting Georgia O’Keefe-like cattle-bone masks hovering on the edges of the action. The transfer from the Elizabethan era to modern Central America does not diminish Shakespeare’s timeless message.

Daniel Bravo Hernandez and Ra'Mya
Latiah Aikens in Romeo and Juliet.
Credit: Joan Marcus

In addition, much of the dialogue between the titular besotted teens is performed in Spanish. Some of Ali’s choices deliver a blurry result, but the Bard’s overall impact is still strongly felt. His theme of division among community causing tragedy despite young love comes across with devastating power, featuring luminous performance from Daniel Bravo Hernandez and Ra’Maya Latiah Aikens as the tragic lovers. The rival houses seem on to be on opposite sides of the immigration question, even though the town appears to be entirely in Mexico. The Capulets are apparently authoritarian officials with Lord Capulet dressed by costume designer Oana Botez in a black military Mussolini-inspired uniform and his nephew Tybalt is played as a thug from ICE. Meanwhile, Romeo’s pals Mercutio and Benvolio side with anti-ICE protestors who deface the wall with graffitti-ed slogans. Perhaps it would have made more sense to use the wall to split the stage in half rather than putting the wall at the back. 

Off-B'way Review: Girl, Interrupted

Juliana Canfield in Girl, Interrupted.
Credit: Joan Marcus

Though it has flaws in terms of pacing and repetition, the new musical adaptation of Girl, Interrupted at the Public, based on Susanna Kaysen’s 1993 memoir, is a heart-wrenching portrayal of surviving mental illness. Pulitzer Prize-winner Martina Majok’s book feelingly depicts Susanna’s struggles with suicidal tendencies and her two-year residency at a mental facility in late 1960s Boston. The country’s collective nervous breakdown over civil rights and Vietnam parallels the psychological battles taking place within Susanna and her fellow patients. The title derives from a Vermeer painting “Girl Interrupted at Her Music.” Susanna obsesses over the work which she encountered during a visit to the Frick Museum with her high-school English teacher who may or may have been sexually inappropriate with her. She identifies with the girl in the painting since they both are interrupted at pursuing their full potential.

Ta'Rea Campell, Juliana Canfield and 
Lauren Jeanne Thomas in 
Girl, Interrupted.
Crdit: Joan Marcus

Issues of sexism are also addressed as her therapist dismisses her ambitions of becoming a writer (“No one is a writer”) and advocates a career for her as a dental technician. (Susanna is finally released when she accepts a proposal of marriage, but later fulfills her literary dreams.) There is only one male actor (a versatile Manoel Felciano), listed as “The Male Presence” who represents the restrictions of the patriarchal society. Majok emphasizes the bond developed between the protagonist and the other inmates. Their shared experiences of trauma and misogyny and feelings of oppression provide a strong connection. One of the most moving scenes involves Susannah and her friends visiting a patient in the violent ward. You can feel their hearts breaking at the degraded state of their former wardmate (she has smeared the walls of her cell with her own excrement), but also the fear that they could slip this far down.

Aimee Mann’s songs starkly evoke the period of the late 1960s, mixing folk-rock with soft-pop, Bacharach-like melodies. Her poetic lyrics chart the strange, far country the young men are trekking through. “Now you’re split in two/And each side isn’t you” they sing as they contemplate their interior conflicts.

Katherine Reis, Mia Pak, Juliana Canfield,
Gabi Campo, King Princess, and Sally Shaw
in Girl, Interrupted.
Credit: Joan Marcus

Director Jo Bonney’s staging is fluid, facilitated by the flexible set by the design team dots and the scene-shifting lighting by Heather Gilbert. Sarah Laux’s costumes subtly denote character such as a frilly mini-skirt for the flirtatious Daisy or radical rags for the rebellious Lisa. But, on the negative side, there are several slowly-paced sequences and many of the women’s stories are too similar, though the actresses including Gabi Campo, Mia Pak, Katherine Reis, and Sally Shaw do their best to provide differentiation.

The entire cast is exemplary. Constantly on stage, Juliana Canfield as Susannah carries the weight of the show on her slender shoulders and delivers a bravura performance, expressively conveying the young woman’s descent into irrationality and her valiant fight to regain her sanity. King Princess is fiery and funny as the defiant Lisa, the role which won a Best Supporting Actress Oscar for Angelina Jolie in the 1999 movie version.

Ta’Rea Campbell has several forceful moments as the compassionate nurse Valerie, expressing her divided emotions between sympathy for the young women and responsibility to perform her unpleasant job. Emily Skinner is properly starchy as Susanna’s no-nonsense British therapist. Lauren Jeanne Thomas is delightfully naive as an eager student nurse. She also ably doubles on the bass, flute and violin, along with Felciano who plays the guitar, bass and violin. Andrea Grody is the proficient music director and plays keys and guitar. There are slow patches, but over all, this Girl is a vibrant one.

June 4—July 12. Public Theater, 425 Lafayette St., NYC. Running time: 110 minutes with no intermission. publictheater.org.