B'way Review: Dog Day Afternoon, Giant

Jon Bernthal, Danny Johnson, and 
Jessica Hecht in Dog Day Afternoon.
Credit: Matthew Muprhy, Evan Zimmerman

Two new Broadway plays are set in the last decades of the 20th century and based on real events. Both are startlingly relevant, foretelling fissures and fractious issues in our current era. Stephen Aldy Guirgis’s adaptation of Dog Day Afternoon, based on the cult-hit 1975 film about a botched bank robbery, exposes the sharp divide between those in and out of power. Mark Rosenblatt’s Giant, a transfer from London, raises the ever-present specter of anti-Semitism and the seemingly unresolvable, perpetual Middle-East War which has gone by many different names over the years (as well as issues such as censorship, cancel culture, and separating the art from the artist). Both productions are powerful theater and feature blockbuster performances not just from the above-the-title leads but from their entire ensembles.

Dog Day is a rarity on Broadway for many reasons. It’s based on a popular film and sports a cast of 20, but it’s not a musical. Guirgis’ stage version follows the Oscar-winning original screenplay and fleshes out many of the characters. The story’s strongly anti-authoritarian themes emerges with power but also becomes an electrifying crowd-pleaser. 

Ebon Moss-Bachrach and Jon Bernthal
in Dog Day Afternoon.
Credit: Matthew Murphy, Evan Zimmerman

This dark comedy was inspired by an actual ill-planned bank job which unexpectedly morphed into a media circus. On a broiling summer day in 1972, inept hold-up men Sonny and Sal stumble and fumble their way into a disastrous hostage situation. In a city reeling from near bankruptcy, the twin terrors of Vietnam and Watergate, not to mention the Attica prison riots, the debacle briefly grabbed the public imagination and Sonny emerged as a short-term folk hero. The fact that he was bisexual and his motive for the robbery was to raise the funds for gender-reassignment surgery for his lover added to the quirkiness of the story. (Guirgis downplays the homophobia of the era and makes Sonny more openly gay and proud.) After career-making turns in both Godfather films, Al Pacino cemented his star status as Sonny in the movie version.

Off-B'way Review: Public Charge

Zabryna Guevara in Public Charge.
Credit: Joan Marcus

Though Julissa Reynoso and Michael J. Chepiga’s Public Charge (fittingly at the Public Theater) takes place only a few years ago, this fast-paced docu-play feels like a relic from another era. Based on Reynoso’s experiences as a diplomat under Hillary Clinton’s State Department and as Barack Obama’s Ambassador to Uruguay, Public Charge follows the intricacies and infighting to accomplish meaningful and constructive foreign policy changes through persuasion rather than violence. In our current political moment, the administration blunders into war and bombs targets indiscriminately, eschewing diplomacy or even civility. 

Focusing on the herculean task of Reynoso, Obama and Clinton to reform the US’s entrenched no-contact policy toward Cuba, the play is a primer on how government at the highest level works or doesn’t. We open with an ironic prologue. Eight-year-old Julissa is attempting to emigrate from her native Dominican Republic to join her mother in the US. In an embarrassing interview with immigration officials, her request is delayed for fear she will become a “public charge” or a burden on the state by depending on welfare. We jump ahead several years to see Julissa become an official in Obama’s administration, helping to determine our policy towards Latin America. 

Smoothly and swiftly staged by Doug Hughes, the play shifts around the globe on Arnulfo Maldonado’s versatile set, transformed by Ben Stanton’s lighting, and Lucy MacKinnon’s video design into a plethora of settings from a bodega in the Bronx to the corridors of power in Washington, Havana, and Montevideo.  

Reynoso and Chepiga’s script is short on characterization but long on fast-paced action. Apart from the layered portrayal of Julissa herself (brought to vivid life by Zabryna Guevara), the other personae are given only one or two traits. Career State Dept. official Cheryl Mills is brusque and no-nonsense, constantly telling those under her to “Pause,” dispense with chit-chat, and deliver results. Julissa’s initial superior and later subordinate Ricardo Zuniga, a hard-line anti-Communist conservative from Honduras, exists to represent opposition to her attempts to knock the walls between the US and Cuba. Marinda Anderson and Dan Domingues do their best to bring extra dimension to these roles. Al Rodrigo is more successful as Julissa’s uncle and the pragmatic president of Uruguay. 

Zabryna Guevara, Marinda Anderson,
Armando Riesco and Maggie Bofill
in Public Charge.
Credit: Joan Marcus

Yes, the characters are thin, but the plotting takes up the slack with more twists and turns than an espionage thriller. Just as a breakthrough appears possible, an American aide worker is imprisoned and held hostage by Castro’s government (After five years in captivity, he is finally released.) The roller-coaster ride continues until Obama’s famous declaration of plans to normalize relations with Cuba. Jules celebrates and predicts years of progress under a Hillary Clinton presidency. We all know how that turned out. Despite the downer ending, Public Charge is a vital reminder of the difficult but necessary struggle to make the world a safer place.  

Public Charge: March 25—April 12. Public Theater, 425 Lafayette St., NYC. Running time: 100 minutes with no intermission. publictheater.org.

Book Review: The Space Merchants

(Bought from Amazon) Recommended on a Sci-Fi Literature course on Amazon Prime. It sounded interesting. Somewhat dated but still relevant futuristic adventure where corporations and advertising have taken over all forms of government. The world is divided into execs who sell shit and consumers who mindlessly buy it. Ad exec Mitch MacCauley is charged with snookering the hoi polloi into signing up to colonize the hostile environment of Venus. Fascinating dystopian futurescape devolves into a conventional thriller with our hero triumphing in the end, after numerous assassination attempts and double crosses, but it's not clear if he has learned a lesson about the evils of rampant capitalism. Conversationists are cast as "commies" or evil fanatics. The corporations have drained the planet dry so consumers have to take pedicabs instead of autos. But wait a minute, we can still board rockets to distant cities, arriving within minutes and to the moon within hours. I liked the last scenes where the president is a powerless figurehead and Congress is run by the businessmen. A fast, fun read.

 

Off-B'way Review: What We Did Before Our Moth Days

Hope Davis, Josh Hamilton, Maria Dizzia,
and John Early in What We Did
Before Our Moth Days.
Credit: Julieta Cervantes

Wallace Shawn continues to explore themes of morality and familial influence with his latest work What We Did Before Our Moth Days, a series of interrelated monologues running three hours, yet mesmerizing us with its staggering details and insight into human behavior. The intense performances of a sharp quartet of actors and the sensitive, subtle direction of Shawn’s longtime collaborator Andre Gregory perfectly complement the playwright’s unsparing portrait of interpersonal dynamics.

As in his Aunt Dan and Lemon, The Fever, The Designated Mourner, and Evening at the Talk House, Shawn displays how morally careless actions can lead to devastating consequences a generation later. Aunt Dan’s unquestioning fascistic support of Henry Kissinger causes her niece Lemon’s bigoted, Nazi-like attitudes and emotionally stunted lifestyle. Fever and Mourner are cautionary tales against government oppression and overreach. In Evening at the Talk House casual acceptance of repugnant political practices inspires societal breakdown and the spread of torture. Moth Days focuses on personal conduct rather than political, but the choices the characters make still cause devastating consequences.

Off-B'way Reviews: Cold War Choir Practice; Bigfoot!, A New Musical; Chinese Republicans

Alana Raquel Bowers, Andy Lucien, and
Crystal Finn in Cold War Choir Practice.
Credit: Maria Baranova

That distinctly weird, transitional decade, the 1980s, provides the time frame for two wildly funny Off-Broadway productions. This was a time when America was rejecting the liberal ideals of the hippie-Vietnam era and moving into the narcissistic, ego-driven period of “Me first and the rest of you be damned.” Both shows use parody to lampoon the excesses of the time. One examines serious conflicts while the other is a silly spoof. The more complex work is Cold War Choir Practice, Ro Reddick’s imaginative, surprisingly riotous take on Reaganomics, nuclear threats, and race relations co-presented by MCC Theater, Clubbed Thumb and Page 73. Set in 1987 and written with a sharp satiric edge, this insightful and mercilessly dark comedy focuses on African-American adolescent Meek (intense and winning Alana Raquel Bowers) who becomes embroiled in international espionage when she corresponds with a Russian pen pal.

Will Cobbs, Lizan Mitchell, and 
Alana Raquel Bowers in
Cold War Choir Practice.
Credit: Maria Baranova

Matters get complicated when Meek’s estranged uncle Clay (solid Andy Lucien), a prominent black conservative, brings his mysteriously ill white wife Virgie (appropriately shattered Crystal Finn) home to the family’s Syracuse, NY, roller-skating rink for the holidays. Meek’s choir Seedlings of Peace and Virgie’s cultish women’s affinity group are involved in attempting to steal Clay’s state secrets. Meek’s dad Smooch (fiery Will Cobbs) and grandma Puddin (fun and feisty Lizan Mitchell) clash with Clay and Virgie, trying to fathom their family member’s transformation from radical Black Panther follower to Reagan White House advisor. 

Book Review: The Secret History

(Bought for full price at Barnes and Noble because I needed something to read on a big trip; another of the 100 books the BBC says I should read before I die.) You know a book is successful if you feel compelled to keep reading to find out what happens. Even if you are tired and it's 1 o'clock in the morning, you need to got to the end of a chapter. You need to know how the story turns out. Donna Tartt's The Secret History had that effect on me. I absolutely hated all the characters, but Tartt forced to me to keep going. She masterfully structured the suspense so that even though the book climaxed about half through its nearly 600 pages, I continued reading.

The story revolves around a small group of elitist students at a Vermont liberal-arts college. Under the influence of their beloved classics instructor, they commit several immoral acts and eventually spiral out of control. The narrator is Richard, a young man searching for meaning in his life. He thinks he finds it with his new friends and studies of ancient Greek, but he loses his moral compass. The story reminded me of Lord of the Flies in its examination of ethical relativism. Tartt's attention to detail and characterization are flawless. I did not like any of the characters. Richard is weak. The instructor Julian is a coward, selfish and clueless about the real world. Henry is narcissistic. Bunny is annoying. Charles is pathetic. HIs twin sister Camilla is vacuous. No one behaves well, but the plot was so addictive, I couldn't put this massive novel down. Also enjoyed Tartt's Pulitzer Prize-winning The Goldfinch, also about a lost young man without a family. I might try her The Little Friend.

B'way/Off-B'way Update: MTC; Wanted Musical

School Girls or the African Mean Girls Play
at MCC Theater.
Credit: Craig Schwartz

Manhattan Theater Club has announced two productions for its 2026-27 season: The Broadway premiere of Jocelyn Bioh's School Girls; or The African Mean Girls Play and the American premiere of Nick Payne's The Unbelievers. School Girls debuts Off-Broadway at MCC Theater in 2017 and focuses on an elite all-girls school in Ghana where the students are obsessed with an upcoming beauty pageant. Previews begin Sept. 8 at the Samuel J. Friedman Theater. Whitney White who has staged Bioh's Jaja's African Hair Braiding for MTC at the Friedman directs. Casting and an opening date TBA.

Off-Broadway, MTC presents Nick Payne's The Unbelievers at City Center Stage I with preview performances beginning Oct. 13. Tony nominee Knud Adams (English) directs. MTC previously presented Payne's Constellations and Incognito. The play is about a family dealing with the disappearance of their teenaged son and how it impacts their faith. Additional MTC productions for the 2026-27 season will be announced soon.

Gun & Powder (now retitled Wanted)
at the Paper Mill Playhouse.
Credit: Jeremy Daniel

In other 2026-27 Broadway news, Wanted, the new musical formerly known as Gun and Powder, will arrive at the James Earl Jones Theater this fall. Previews begin Oct. 15 prior to a Nov. 8 opening. Solea Pfeiffer (Hadestown) and Liisi LaFontaine (Moulin Rouge in the West End) will star as Mary and Martha Clarke, African-American twin sisters who passed as white in 1893 Texas. Wanted features a book and lyrics by Angelica Cheri (descendant of the Sisters Clarke), music by Ross Baum, and choreography by Chelsey Arce  (Sweeney Todd revival, Harry Potter and the Cursed Child).  Obie winner Stevie Walker-Webb directs.

Under the title Gun & Powder, the musical played the Paper Mill Playhouse in Spring 2024 and then had a workshop in June 2025.

Also, two-time Tony winner Kara Young (Purlie Victorious, Purpose) will join the cast of the revival of Proof, replacing Samira Wiley who had to withdraw due to a treatable medical condition. Young joins Ayo Edebiri, Don Cheadle and Jin Ha at the Booth Theater where previews begin March 31, opening April 16.

B'way/Off-B'way Reviews: Every Brilliant Thing; Bughouse; Burnout Paradise

Daniel Radcliffe in Every Brilliant Thing.
Credit: Matthew Murphy

The Daniel Radcliffe vehicle Every Brilliant Thing, currently at the Hudson after a transfer from London, is ostensibly a solo show. The former Harry Potter star is the only cast member listed in the program. Yet the show really features one of the largest ensembles on Broadway. Before its 85 minutes have elapsed almost the entire audience has taken part in this moving, intimate yet expansive meditation on depression and recovery, performed with energy, wit and compassion by Radcliffe. 

Originally produced at the Edinburgh Festival and later Off-Broadway during the 2014-15 season, Brilliant involves its audience to amazing extent. An unnamed protagonist relates his childhood-to-adult story of compiling a list of all the things that make life worth living in response to his mother’s repeated suicide attempts. Theatergoers are given post-its with items on the list and read them out when called upon. Additional spectators take on the roles of the hero’s long-suffering dad, understanding school counselor, sympathetic love object (male at performance attended), and many others. This is a joyous and heartwarming experience as the patrons cry out “Ice cream” and “Water fights,” though it was difficult to make out some of the longer entries when it was clear the audience member did not have vocal training and Tom Gibbons’ sound design could not entirely clarify their remarks.

Oscar Predix

For the past few Oscars seasons, I've made it a point to see as many of the nominees as possible including documentaries, foreign films, animated and shorts. Since I was in Ecuador for two weeks, I was not able to see as many Oscar contenders as usual. I wasn't as enthused about this year's crop anyway. The front runner, One Battle After Another did not particularly impress me. Paul Thomas Anderson will undoubtedly win for his direction and adapted screenplay (from Thomas Pynchon's novel Vineland). His long, tracking shots and suspenseful chase scenes are indeed riveting, but I didn't really care about the cardboard characters and their nutty conspiracies. Sinners which shattered the record for most nominations seems to be surging and I enjoyed it more than Battle. Michael B. Jordan who triumphed over early favorite Timothee Chalamet at the SAG Awards could benefit from the Marty Supreme star's oafish comments on nobody caring about ballet or opera. Chalamet is seen as arrogant and too eager for his first Oscar at age 30. The reasoning seems to be let him win one when he's older and more humble. 

Anyway here are my predictions in all categories for the Oscars on this coming Sunday:

Off-Broadway Reviews: Antigone (This Play I Read in High School); Marcel on the Train

Celia Keenan-Bolger and Susannah Perkins
in Antigone (This Play I Read in High School).
Credit: Joan Marcus

There have been numerous attempts at updating Greek tragedy. This season alone the tale of Oedipus has seen a new modern version from Robert Icke and a revival of the gospel musical adaptation. Anna Ziegler has taken on the shattering narrative of Oedipus’ equally benighted daughter Antigone in a searing retelling through a modern lens. Subtitled (This Play I Read in High School), this Antigone is still a devastating portrait of female defiance of male oppression but goes several steps further. 

In Sophocles’ original, Antigone is condemned to death for giving her brother a decent burial in defiance of the king, her uncle Creon who wants the body to be left to the vultures for political reasons. In Ziegler’s skillful melding of myth and modern issues, the heroine is to be killed by the state for having an abortion. This is a chillingly relevant adjustment since so many states have made such an operation illegal since the overturning of Roe V. Wade and some have gone so far as to equate abortion with homicide, punishable by lengthy prison sentences. (The state of Tennessee just unsuccessfully attempted to make execution the penalty.) How many Antigones are there in America today?

Ziegler answers that query by combining a contemporary woman’s story with a version of the original that takes place simultaneously in the past and the present. Celia Keenan-Bolger compassionately plays the Chorus who interweaves her 2026 story of an unwanted pregnancy with Antigone’s tale after meeting a punky, self-possessed teenager (the magnificently spiky Susannah Perkins) who happens to reading the play across the aisle from her on an airplane. We then travel to a Thebes not unlike our contemporary society where the new king Creon (a searingly self-doubting Tony Shalhoub) strives to bring rigid order to the moral chaos left behind by his predecessor Oedipus, who had unwittingly married his own mother. 

Book Review: Holy Fire

(Read on my phone on the Libby app): I heard about this Bruce Sterling sci-fi favorite on a series of lectures on Prime: How Great Science Fiction Works (Prof. Wolfe). It sounded interesting. In the year 2092, a 92-year-old woman undergoes experimental life extension treatments which cause her personality to go somewhat haywire. She escapes from the San Francisco government medical facility where she is recooperating and launches onto a Candide-like trek across Europe. She hits Stuttgart, Prague, Rome as a model and photographer, falling in with a gang of radical anti-agist rebels. There's something important about a digital cache of memories called a "palace" she has inherited from a former lover, but I couldn't figure out why everybody is after her for its secrets. There was a talking dog in the palace and it escapes to menace our heroine, Mia or Maya depending on if we are referring to her old or new self. There's also something called holy fire, a kind of divine inspiration which apparently has affected the new pope and maybe Mia/Maya.

Mia/Maya's adventures seemed rather random and arbitrary. She just bounces from incident to incident with no strong objective or goal. We do get a fascinating picture of late 21st century life with analyses of public life, fashion, art, and intergenerational conflict. Older people called geronticrats stack the deck in their favor and keep younger people impoverished. 

There were individual sequences I found compelling such as a talking dog called Aquinas (not the other talking dog) with his own intellectual TV chat show and a touching scene where Mia visits an actress who has transformed into a Neanderthal version of herself to get away from the stresses of modern life. A mixed bag.

Ecuadorean Adventure--Galapagos

Ready to snorkel in the Galapagos.

For two weeks in frigid February, we escaped a major snowstorm to visit friends who have an apartment in Quito, Ecuador. This is my first time in South America. The city is surrounded by mountains and it is so highly elevated I feel out of breath after only a few minutes of walking. The first day we took a tour of the old town with its colonial-style churches and then drove out to the Equator monument where you can stand in the exact center of the Earth. The location was originally designated by French scientists in the 18th century but advanced technology has determined the exact location about 20 meters away. There are gimmicky attractions like standing with one foot in the Northern hemisphere and another in the Southern. 

The highlight of the trip has been a four-day travel package to the Galapagos Islands which I found on line. The $700 package included transfers from the airport (which involved a bus, a ferry boat and a long cab ride), meals, and four excursions. I was excited about going by myself but a little nervous. I managed to find a direct flight from Quito to Baltra, the one airport on the island chain, but there were several hoops to be jumped through at the Quito airport. First you have to buy a travel permit to visit the islands ($20, Ecuadorean currency is the same as US), which you must download to your phone. Then you have to have your bags inspected to make you're not carried anything that will disturb the ecosystem, fill out a declaration form and that has to be downloaded to your phone too. Once in Galapagos airport, you have show both docs as well as your passport and a $200 visitor's fee in cash. 

B'way Update: Much Ado About Nothing

Hayley Atwell, Tom Hiddleston, and company
in Jamie Lloyd's staging of
Much Ado About Nothing.
Credit: Marc Brenner

Tony nominee Tom Hiddleston and Olivier nominee Hayley Atwell will recreate their starring roles in Jamie Lloyd's staging of Shakespeare's Much Ado About Nothing when the production transfers from London's West End to Broadway this coming fall for a limited-ten week engagement at a Shubert theater to be announced. Hiddleston collaborated with Lloyd previously on Harold Pinter's Betrayal which played Broadway and London. Atwell is making her Broadway debut. She appeared in Lloyd's staging of The Pride and received an Olivier nomination. 

Both stars are probably best known for their recurring roles in the Marvel Comics Universe film and TV franchise. Hiddleston has played Loki, the evil brother of Thor and Atwell portrayed Agent Peggy Carter in Captain America: The First Avenger and the Agent Carter TV series.

This will be the 16th Broadway production of the Bard's comedy of clashing wills between combatants Beatrice and Benedick. Previous stagings have starred John Gielgud and Margaret Leighton (1959), Sam Waterston and Kathleen Widdoes (1972) and Derek Jacobi (Tony Award) and Sinead Cusack (1985). Memorable Central Park version were headlined by Kevin Kline and Blythe Danner in 1988 and by Danielle Brooks and Grantham Coleman in 2019. Kenneth Branagh directed and starred in a film version in 1993 opposite his then-wife Emma Thompson.

Off-B'way Review: The Dinosaurs

April Matthis, Mallory Portnoy,
Maria Elena Ramirez, and Elizabeth Marvel
in The Dinosaurs.
Credit: Julieta Cervantes

Jacob Perkins’ The Dinosaurs at Playwrights Horizons starts out like a straightforward depiction of a weekly support group modeled on Alcoholics Anonymous. (The play’s Sisters in Sobriety has some significant differences. Only women are allowed to participate and time rules for sharing individual stories and reflections are strictly enforced.) While the structure at first seems linear, gradually time shifts back and forwards as the members suddenly appear at different points in their struggle to deal with their demons. The sterling performances, Les Waters’ precise direction and Yuki Link’s sensitive lighting help us to clearly navigate the tides of Perkins’ constantly changing river of time. (The design team of dots created the realistic meeting space and Oana Botez’s costumes subtly tell us much about each character.) What emerges is a fluid portrait of women in crisis and how they support each other.

April Matthis, Kathleen Chalfant, and
Elizabeth Marvel in The Dinosaurs.
Credit: Julieta Cervantes

It’s a compassionate profile of the recovery process. The title probably refers to the veterans in the program who pass on their coping mechanisms and wisdom. All but one of the characters have similar names—Jolly, Joan, Jane, Janet, Joane—suggesting they may be aspects of the same personality or that their stories are similar and they are all following paths towards sobriety. Rayna, the only one with a different monicker, enters at the beginning as a potential new member, chatting about cupcakes with early arrival Jane. But she leaves in a panic before the others arrive and then comes in and out as a visitor from the future but never completely joins in. It’s significant that she also goes by the nickname Buddy, indicating she can stand in for a variety of identities within the group. 

The time and character shifts can be a trifle confusing at first, but once the rhythm is established, we get to know the women’s stories, feelingly relayed by six brilliant actresses. April Matthis conveys unspoken depths as Jane who doesn’t get to tell her complete narrative but feels a connection to Rayna, played with similar reams of subtext by Keilly McQuail.  

Keilly McQuail in The Dinosuars.
Credit: Julieta Cervantes

Elizabeth Marvel is spiky and jagged as the tightly wound Joan, meticulously managing coffee and pastries while clinging desperately to sanity. Kathleen Chalfant as the aptly named Jolly is bubbly and full of compassion. Mallory Portnoy as Janet and Maria Elena Ramirez as Joane deliver shattering monologues on harrowing experiences which test their sobriety. Janet’s is a surrealistic dream and Joane’s reveals an uncomfortable family secret. Both are beautifully written and performed as is the whole of this sensitive play. 

Feb. 16—March 1. Playwrights Horizons, 416 W. 42nd St., NYC. Running time: one hour and 15 mins. with no intermission. playwrightshorizons.org. 

Book Review: Anagrams

(Read on my phone on the Libby app.) At about 100 pages into Lorrie Moore's first novel, I said to myself, "What the hell is going on here?" There are four sections and the first three are short vignettes with three main characters, recurring in each section but with different relationships and circumstances. Then the final long, novella-length section is the "reality" of their shared situation (I guess). Then I remembered the title and realized what Moore was doing--rearranging the plots and characters like anagrams in a puzzle. I won't reveal too much of the multiple, shifting storylines, except they revolve around Benna, who is either an amateur nightclub singer or a community college professor of art history or poetry. Musician-singer Gerard may or may not be in love with her. Benna's friend Eleanor is the third point of a triangle or maybe she's not. 

I've enjoyed Moore's short stories and her other novel Who Will Run the Frog Hospital? Here, the characters may like wordplay a bit too much. They are always making clever puns. But I did feel the emotions for which the jokes act as a shield. Benna, Gerard, Eleanor, and other characters Darrel and Louis are all desperately lonely with tragedies impacting them. Their aches comes across in their eccentric actions and Moore depicts them with compassion.

Off-B'way Review: The Monsters; High Spirits

Aigner Mizzelle and Okieriete Onaodowan
in The Monsters.
Credit: T. Charles Erickson

The two-actor cast of Ngozi Anyanwu’s The Monsters at the intimate Stage II at City Center in a Manhattan Theater Club production, go through quite a workout in its 90-minute running time, both physically and emotionally. So does the audience. Anyanwu’s tight and devastating script rings some familiar bells in the estranged-family division, but her script is honest and heartfelt. Her direction is well-paced and, with the aide of Cha See’s lighting, creatively transforms Andrew Boyce’s simple gym setting into a myriad of locales.

As the play opens, Big and Lil (short for Little) are disconnected African-American siblings, survivors of an abusive father. Big, whose real name is not revealed until the end of the play, is a champion mixed-martial arts fighter. His half-sister Lil (actual name: Josephine) attempts to resume their once close relationship after 15 years of silence. Gradually, their severed bond is knit back together as Big trains Lil in MMA. As she raises in the ring ranks, long buried resentments and secrets are revealed and their conflict erupts in a grueling grudge match. (Gerry Rodriguez is the masterful fight director.)

B'way Update: Galileo Musical

Raul Esparza in Galileo: A Rock Musical 
at Berkeley Rep.
Credit: Kevin Berne

According to Playbill.com, Galileo, a rock musical based on the life of the 17th century astronomer, will open on Broadway this fall after a run at the Berkeley Rep in 2024. Performances begin Nov. 10 at the Shubert Theater where Hell's Kitchen is running through Feb. 22. Opening is Dec. 6. The cast will be headed by Tony nominee Raul Esparza (Company), Jeremy Kushnier and Joy Woods. Tony winner Michael Mayer (American Idiot, Spring Awakening) directs. The book is by Emmy winner Danny Strong (Chess) with music and lyrics by Michael Weiner and Zoe Sarnak.

Book Review: The Pursuit of Love

(Borrowed from the Mid-town NYPL at 40th St.): Nancy Mitford's comic novel is funny and disconcerting. I found myself laughing hysterically at the antics of the heroine's eccentric landed-gentry family, but then recoiling at their disgusting traits. The patriarch Uncle Matthew is a violent, bigoted bully but he's so funny. Kind of like Archie Bunker with an upper-crust accent. Matthew dominates his family, beats his children, harbors racist attitudes towards all foreigners, yet he's riotously unfettered by the constraints of mannered society. He is described as a "cardboard ogre." The heroine, his daughter Linda, is totally amoral and self-absorbed, drifting from marriage to marriage, and finally ending as the kept mistress of a charming French Duke. She marries a Nazi-sympathizing Tory politician, then a Communist freedom fighter, neither of whom she really loves. She does throw herself into refugee service work while married to the radical, but as soon as she leaves him she spends her days in pre-war Paris shopping for clothes. 

Mitford based the characters on her own illustrious family and the book offers a fascinating look at life in England among the gentry between the wars. I did laugh out loud several times but also cringed as often. 

Off-B'way Review: The 25th Annual Putnam County Spelling Bee

The cast of The 25th Annual
Putnam County Spelling Bee.
Credit: Joan Marcus

In a program interview, director-choreographer Danny Mefford reveals he never saw The 25th Annual Putnam County Spelling Bee before taking on its first-ever NYC revival playing now Off-Broadway at New World Stages. His virgin encounter with William Finn and Rachel Sheinkin’s adorable 2005 tuner about a crew of misfit kids vying for the top prize at the titular academic event, is a blessing. He sees the material with fresh eyes and delivers a sparkling, warm, and intimate production. The original production opened Off-Broadway at Second Stage and later transferred to Circle in the Square where it won two Tonys and played 1,138 performances. 

Sheinkin’s quirky book and Finn’s tuneful yet innovative songs combine compassion and humor so that we are laughing with the odd characters but never at them. Mefford’s staging is economical and swift, giving equal weight to all six tween spellers, three supervisory adults and the four audience members recruited to join the contestants. Teresa L. Williams’ colorful and funny school auditorium set, with the aide of David Weiner’s imaginative lighting, accommodates shifts in tone and flashback settings. Emily Rebholz’s delightfully off-kilter costumes delineate character. 

Jason Kravitz and Lilli Cooper in
The 25th Annual Putnam County Spelling Bee.
Credit: Joan Marcus

The excellent ensemble skillfully imparts their characters’ eccentricities and displays impressive musical liming (Carmel Dean is credited with the vibrant musical supervision and vocal arrangements). The six spellers are also quite believable as middle schoolers. Most impressive is Jasmine Amy Rogers whose shy Olive Ostrovsky, longing for a deeper connection with her distant parents, is the exact opposite of the bubbly cartoon Betty Boop Rogers played on Broadway last season. Her sweetly aching rendition of “My Friend the Dictionary” is both heartbreaking and heartwarming. Kevin McHale exposes nasally-challenged William Barfée’s arrogance and his vulnerability. He shines in Mefford's hilarious staging of “Magic Foot,” William’s celebration of his secret spelling weapon. Justin Cooley is adorably off-kilter as self-doubting but ultimately self-affirming Leaf Coneybear, drowning in a sea of siblings. 

The cast of The 25th Annual Putnam
County Spelling Bee.
Credit: Joan Marcus

Philippe Arroyo is a riot as Chip Tolentino whose distracting hormones disastrously interfere with his spelling performance. Lana Rae Concepcion delightfully explodes as the high-achieving Marcy Park, finally giving weight to the idea that she doesn’t have to be the top at everything. Autumn Best is enchantingly desperate to please as Loraine Schwartzandgrubenuerre, a frazzled loner eager to be a winner for her two gay dads. Lilli Cooper, Jason Kravits and Matt Manuel bring depth to the spelling bee officials, each with their own neuroses and conflicts. 

This fun and fuzzy production originated at the Kennedy Center, now the center of a political storm. There are some new jokes about the controversy of the President’s involvement with the Center and the COVID pandemic, perhaps provided by Jay Reiss who is credited with “Additional Material.” The topical references add bite, but they are not the main reasons for this revival. It’s the charm, the compassion for outsider kids who enjoy learning and the snappy wit that makes this Bee buzz. 

Nov. 17—Sept. 6. New World Stages, 340 W. 50th St., NYC. Running time: one hour and 45 mins. with no intermission. telecharge.com.

Horror Makes a Comeback in Oscar Films

Amy Madigan as Aunt Gladys in Weapons.
Credit: Warner Brothers

This year, I'm not as driven to see ALL of the Oscar-nominated films in every categories as I have been in previous years. For the past few seasons, I obsessively followed all the award nominations and ceremonies and gone to the movies in cinemas or streamed them. Remember Barbenheimer? This time I'm not as enthused about the choices. One Battle After Another, the frontrunner for Best Picture, did not grab me emotionally. It struck me as a brilliant technical achievement by Paul Thomas Anderson (all those long tracking shots with hundreds of background players), but the story and characters were extreme cartoons. Battle looks like the likely winner for Picture, Director and Adapted Screenplay. Sinners will take Original Screenplay. Treyana Taylor of Battle could take Supporting Actress, but there is a lot of support for Amy Madigan for Weapons. Timothee Chalamet and Jessie Buckley are the favorites for Actor and Actress, probably Stellen Skarsgaard for Supporting Actor.

Horror is a prevalent genre this year with Sinners (16 noms, the most ever), Weapons, and Bugonia prominently featured. Perhaps this is a metaphorical response to our national trauma. Jessie Plemmons' character is a victim of abuse in Bugonia as are the missing children in Weapons and the juke joint patrons in Sinners are victims of racism. 

Oscar contenders seen:

Frankenstein (Netflix)

Nuremberg (Kaufman-Astoria)

Blue Moon (Kew Gardens Cinema)

One Battle After Another (Amazon Prime)

Train Dreams (Netflix)
Wicked: For Good (Regal Union Square in 3D, 4DX)

Hamnet (Kew Gardens Cinema)

If I Had Legs I'd Kick You (Amazon Prime)

Sentimental Value (Angelika Cinema)

Jay Kelly (Netflix)

Sinners (HBO Max)

Familiar Touch (Amazon Prime)

Marty Supreme (Kew Gardens Cinema)

Bugonia (Apple TV)

Weapons (HBO Max)

Come See Me in the Good Light (Apple TV)

Short Film Docs

All the Empty Rooms (Netflix)

Armed Only with a Camera: The Life and Death of Brent Renaud (HBO Max)

The Devil Is Busy (HBO Max)

Book Review: Who Will Run the Frog Hospital?

(Downloaded on my Kindle for $6): I loved the title of Lorrie Moore's early novel and enjoyed this quirky story of two teen girls' summer of verging on adulthood in upstate New York. The narrator is Berrie, reflecting back on her girlhood friendship with the pretty and somewhat dangerous Sils, while accompanying her husband to a medical conference in Paris. In her recollection, Berrie and Sils work at an amusement park and skirt the edges of bad behavior. They rescue frogs tortured or injured by callous boys, hence the title. Moore captures their yearning for maturity and freedom in their dreary little town. The adult Berrie is not quite as well developed. It's not clear why she is slightly dissatisfied with her marriage. Her friendship with Sils fades as they move apart and Berrie regrets the lost connection. The evocation of lost youth is affecting.

Book Review: I Like to Watch: Arguing My Way Through the TV Revolution

(Bought at the Strand Book Store for $10): Pulitzer Prize winning critic Emily Nussbaum's collection of reviews and profiles from the New Yorker forms a fascinating history of the evolution of TV in the early 21st century. From the rise of cable to the current state of streaming, Nussbaum digs deep into the meaning of such cult and pop hits as Buffy the Vampire Slayer, The Americans, Law and Order: SVU, Jane the Virgin, and many others. Her take on David Chase's love-hate relationship with his audience in The Sopranos brings up several interesting points like the moral ambiguity of Dr. Melfi helping Tony not to be a better man but a more efficient gangster. She says Chase makes us love Tony but then makes us hate ourselves for loving him and watching him every week.  I haven't watched ALL of these shows, but Nussbaum makes me want to. 

Her extended profiles of prolific show-runners Kenya Barris (black-ish), Jenji Kohan (Weeds, Orange Is the New Black) and Ryan Murphy (Glee, Pose, Feud, etc.) offer a glimpse into the shifting power struggle in entertainment as these black, female and gay voices become more powerful. There are also views of the past with ruminations on Norman Lear, Joan Rivers, and Sex and the City.

Nussbaum recently was reassigned to cover theater for the New Yorker and I'm looking forward to her perspectives.

Bowl EP and David Greenspan Among Obie Winners

Oghenero Gbaje and Essence Lotus in Bowl EP,
Obie Award winner for Best New Play.
Credit: Carol Rosegg

Bowl EP, Nazareth Hassan's play about two wanna-be rappers set in an empty swimming pool made into a skateboarding park, and performer-playwright David Greenspan were among the winners of the 69th annual Obie Awards, announced on NY-1 by Frank DiLella and Michael Urie on Jan. 31. Bowl EP was named Outstanding New Play and won for its three-person Ensemble Cast and Greenspan won two awards--for his performance as part of the ensemble of Prince Faggot and for the solo show I'm Assuming You Know David Greenspan. He previously won six Obies.

Originally presented by the Village Voice newspaper, the Obies are now presented by the American Theater Wing who also co-presents the Tonys. The Obies honor excellence in Off and Off-Off-Broadway theater. Instead of a ceremony, the Wing presents winners with cash grants totaling more than $250,000. A private reception for the winners will be held on Feb. 23. 

David Greenspan in I'm Assuming You Know
David Greenspan.
Credit: Ahron R. Foster

This year's judging panel comprised Stephanie Berry, Modesto "Flako" Jimenez, Jonathan McCrory, Santiago Orjuela-Laverde, Aya Ogawa, Barbara Samuels, and Whitney White, led by co-chairs Wilson Chin and Ryan J. Haddad. More than 300 productions were evaluated.

Drama Desk and Outer Critics Announce 2026 Dates

Two major theater award dispensing groups, the Drama Desk and the Outer Critics Circle, have announced their dates for nominations and ceremonies. The 70th annual Drama Desk Awards will be held on Sun. May 17 at Town Hall. The ceremony will celebrate the organiztion's 70-year history. This marks a return to the venue for the first time since the 2020 theater shutdown. The DDs had been presented at NYU's Skirball in recent years. The nominations will be announced on April 29. This year’s awards will be produced by Drama Desk Awards Productions, a venture of Scene Partners in partnership with the Season. Chaired by the Martha Wade Steketee (UrbanExcavations.com), the 2026 nominating committee includes Linda Armstrong (Amsterdam News), Daniel Dinero (Theater Is Easy), Peter Filichia (Broadway Radio), Kenji Fujishima (freelance, Theatermania), Margaret Hall (Playbill.com) and Raven Snook (TDF).  Charles Wright and David Barbour are co-presidents. The Drama Desk considers Broadway, Off-Broadway and Off-Off-Broadway in each of its multiple categories. The acting categories are not gender-specific and the top two vote-getters are the winners. Multiple awards may be presented in the case of ties. The awards are voted on by about 100 DD members who are NY-based theater critics, reporters, and editors.

Nominations for the Outer Critics Circle Awards will be announced on April 21. The winners will be made public by press release on May 11 with a ceremony to be held on May 21 at a venue yet to be announced. Previous OCC presentations have been held at the Lincoln Center Library for the Performing Arts' Bruno Walter auditorium and before that at Sardi's restaurant where a meal was included. The OCCs honor on and Off-Broadway. Some of their categories are divided between Broadway and Off-Broadway while others put them together. Like the DDs, the OCCs have eliminated gender-specific acting categories. The Outer Critics Circle is an organization of writers on New York theatre for out-of-town, national, and digital publications. Led by President David Gordon (Theatermania), the OCC Board of Directors which is also the Nominating Committee includes Vice President Richard Ridge, Recording Secretary Joseph Cervelli, Corresponding Secretary Patrick Hoffman, Treasurer David Roberts, Cynthia Allen, Harry Haun, Dan Rubins, Janice Simpson and Doug Strassler. Simon Saltzman is president emeritus and a non-nominating board member, and Stanley L. Cohen serves as financial consultant and a non-nominating board member.

Off-B'way Review: Ulysses

The company of Ulysses.
Credit: Joan Marcus

The innovative theater collective Elevator Repair Service has tackled such literary giants as Fitzgerald (Gatz, its day-long version of The Great Gatsby), Faulkner (The Sound and the Fury) and Hemingway (The Sun Also Rises). The 35-year-old company is now taking on the greatest challenge in its history by brining to the stage what is generally regarded as one of the most confounding literary masterpieces, James Joyce’ Ulysses. The 1922 massive tome chronicles a single day—June 16, 1904—in Dublin, following the wanderings of Leopold Bloom, his wife Molly and the young Stephen Dedalus, paralleling Homer’s epic The Odyssey. Joyce experiments with style and form, switches genres with each chapter and has the characters express their inner thoughts. We are told in an onstage intro that one critic famously said that not much happens in Ulysses, apart from everything you can possibly imagine. 

Is it even possible to stage such a work which relies so heavily on interior monologues and so little on plot in theatrical terms? Burgess Meredith directed an adaptation of the phantasmagoric Nightgown section (Bloom venturing into Dublin’s red-light district and his own imagination) Off-Broadway in 1958 starring Zero Mostel which was revived on Broadway in 1974. Here director John Collins and co-director Scott Shepherd are taking on the work as a whole, or at least an edited version. While some of the sections are bogged down in attempts to dramatize Joyce’s literary excesses and tend to drag, this adaptation does capture the vital energy of the author’s vivid characters, his deep themes of sexuality, religion and literature, and the emergence of Dublin itself as a life force.