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Featured channels. As a self-confessed comic-book geek and former Brooklyn dweller, I was particularly disappointed, but there are pleasures to be had in this show.

Matt Doyle makes for an adorably dweeby superhero wannabe, and Nicolette Robinson is a dynamic Astrolass, the object of his idol worship.

March 1, It begins, appropriately, in darkness. They eagerly await the arrival of Hickey, the glad-handing salesman whose annual visit promises free drinks and feeding of fantasies.

But this time Hickey brings cold hard reality, encouraging his pals to be honest about themselves, believing it will bring them peace. There are flaws in this giant of a play.

M usical comedy star Nathan Lane may seem an odd casting choice for Hickey; but as soon as he makes his big entrance well into the first act, it makes sense.

Even though Slade can be seen as static—his main action is pushing away Hickey and Parritt and begging to be left alone—Dennehy gives him a palpable vitality and a clear objective: to kill off his compassion and retreat from life though part of him still desperately wishes to partake.

Additional outstanding performances are delivered by Stephen Ouimette as the pugnacious bar owner Harry Hope, John Douglas Thompson as the rage-filled Joe Mott, Kate Arrington as the sentimental prostitute Cora, and Lee Wilkof as the anarchist Hugo Kalmar who goes in and out of a drunken stupor.

February 15, A Month in the Country Classic Stage Company Reviewed by David Sheward Taylor Schilling and Peter Dinklage Photo by Joan Marcus.

February 7, Constellations Manhattan Theatre Club and the Royal Court Theatre at Samuel J. Friedman Theatre Reviewed by David Sheward Jake Gyllenhaal and Ruth Wilson Photo by Joan Marcus.

January 13, This shattering cry of despair is uttered in an even voice by T. Knight, who plays Eddie with painfully real insight, after he recites a seemingly endless list of local landmarks: Starbucks, Home Depot, Walmart, Staples, etc.

Nothing is unique to the titular Idaho town, taken over by brand-name chain outlets, like the rest of America. His great-grandparents settled here, but his current family is distant, either physically, emotionally, or both, ever since the suicide of his father.

His employees are rudderless. Waiter Troy Danny Wolohan is coping with an alcoholic wife Jessica Dickey , a senile father Jonathan Hogan , and a bulimic daughter Leah Karpel , while former drug addict Max Cameron Scoggins is struggling to stay clean, and Isabelle Elvy Yost does her best to scrape together a living.

It sounds like a soap opera, but Hunter, who has depicted other lonely Idaho souls in such plays as A Bright New Boise, The Whale , and The Few , turns it into a symphony of small-town angst.

Two different dramas are taking place at once with dialogue often overlapping. The frazzled Eddie, trying to connect with and impress his relatives, is running in and out, as is the entire wait staff.

The entire company is first-rate, but Knight as the pathetic Eddie and Wehle as the crotchety Doris are especially heartbreaking.

In the final scene, mother and son make a silent truce over a midnight meal of gluten-free pasta. December 23, The Elephant Man Booth Theatre A Delicate Balance John Golden Theatre Reviewed by David Sheward T wo current productions reflect a growing Broadway trend: all-star vehicles in their third Main Stem incarnation.

The Elephant Man and A Delicate Balance are established dramatic fare in limited runs headlined by surefire box-office champs.

They are satisfying evenings, but only the latter challenges its audience. The play is a moving portrait of its subject his real name was Joseph and a scathing indictment of the puritanical Victorian era in which he lived.

Merrick is rescued from a pitiable existence as a sideshow freak by prominent surgeon Frederick Treves, who attempts to give the misshapen man as normal an existence as possible by introducing him to high society.

This includes the actress Madge Kendal. Her sympathetic visits culminate with a brief erotic display when she exposes her breast to Merrick, who has never been looked on with romantic tenderness before.

Sean Mathias took a more objective stance in his revival. Kendal make a final entrance and embrace the dead Merrick. Patricia Clarkson is delightfully droll as Mrs.

Kendal but overplays her theatricality. Anthony Heald admirably doubles as the avaricious manager and a pious bishop, both of whom exploit Merrick for their own ends.

Timothy R. Rosenberg, and the exterior of the Booth Theatre is decorated like a period circus. Ellis and company deliver a solid professional staging, but a deeper rendering of the script would have produced a richer experience.

The play was received with quizzical shrugs by the press and audiences in its initial edition and closed after a brief run.

The source of their terror is never explained, and the question becomes not what is scaring the refugees but what to do with them. Albee asks the difficult questions: What are the limits of friendship and what do we owe those close to us?

With the same insight she brought to her direction of Virginia Woolf , MacKinnon makes this existential conundrum very real. John Lithgow is equally intense as the confused Tobias.

His final entreaty for Harry to stay becomes a desperate plea for meaning. Lithgow makes us see that Tobias realizes that 40 years of friendship count for nothing when it comes to facing death, and it terrifies Tobias just as it does Harry and Edna.

As the in-control Agnes, Glenn Close is coolly commanding but fails to show the tremors beneath her icy surface.

December 15, The plays present questions about belief but offer no easy answers. Kibeho focuses on the real-life incidents of a trio of teenage girls receiving visitations from the Virgin Mary at their Catholic school in Rwanda in the early s.

At first, the girls are treated with skepticism, then celebrated as a tourist attraction. But when they predict an upcoming devastating war, they are greeted with anger.

Michael Greif delivers his usual excellent staging with exquisite lighting by Ben Stanton, mesmerizing video projections by Peter Nigrini, and evocative sound design by Matt Tierney.

There are even flying special effects, realistically created by Paul Rubin. She draws no conclusions but leaves the central issue of belief up to the audience.

I n The Oldest Boy , Ruhl presents a similar conundrum—this one fictional and relating to Buddhism and reincarnation. An American woman married to a Tibetan immigrant discovers her young son may have lived previously as a lama.

Like Hall, Ruhl does not probe deeply into the religious debate. Veteran actor Ernest Abuba brilliantly conveys the spirit of the boy embodied by a puppet as well as the lama.

Sister Shelley, a nun running a soup kitchen in the titular Bronx neighborhood, times her prayers by a microwave since she has trouble speaking to the Lord for even a minute.

Her crisis of faith comes to a head when mentally disturbed volunteer Emma disrupts the center, the staff, and the homeless people who depend on them.

Her script is rife with plots, secrets, betrayals, and familiar father-son conflicts, all tidily wrapped up within 90 minutes. At one point, the playwright unwisely has a character directly ask the audience if it is getting anything out of the play.

In a series of short scenes, we are introduced to various modern versions of Oedipus, Jocasta, Antigone, Tiresias, and others; then some characters disappear, while others meet the legendary unhappy ends.

Stephen Rea is gripping as the contemporary Oedipus in the climactic speech. December 7, Father Comes Home From the Wars Parts 1, 2, and 3 Public Theater Reviewed by David Sheward T he prolific Suzan-Lori Parks, who once wrote a play project, continues her ambitious examination of American history and race with Father Comes Home From the Wars , a nine-play cycle stretching from the Civil War to the present.

The first three parts are on display in a nearly three-hour single bill at the Public Theater. While there is much heavy-handed symbolism and a few overly obvious references to the Odyssey, Father sets off many dramatic sparks and in the second of the three works it really catches fire.

This cycle follows the slave Hero who leaves his wife, Penny read: Penelope , to serve as valet to his despicable master in the Confederate Army in return for his freedom.

The captain encourages Hero to defy the Colonel and set both of them free, but Hero, suddenly confronted with the possibility of being on his own, fears the changes such liberation would bring.

Q uestions of race, identity, responsibility, and morality are hotly debated as the Colonel sadistically toys with both his slave and his prisoner who has several unexpected secrets of his own.

Unfortunately, the first and third plays lack the same punch. Jenny Jules is a compelling Penny and Jeremie Harris a noble Homer.

It will be interesting to see what she has to say in Parts 4 through 9. November 5, Inspired by the real-life terrorist incident in which an American-Jewish tourist was murdered abroad a hijacked Italian pleasure cruise ship, the opera has been assailed by some factions as anti-Semitic, as well as sympathetic and even propagandistic in favor of the Palestinian cause.

Hundreds of protestors gathered outside the Met on opening night and a few bought tickets and attempted to disrupt the show with catcalls. Although several of the characters express anti-Jewish vitriol, the work is not anti-Semitic and attempts to explore the complex, never-ending Middle East crisis through compassion and poetry.

M ost of the action is told in flashback. After a prologue with separate choruses of exiled Jews and Palestinians, survivors including the captain and first officer recall the horrifying takeover in what appears to be a panel discussion.

Tony winner Paulo Szot South Pacific magnificently expresses the moral confusion and guilt of the captain, who feels he could have done more to prevent the murder of Klinghoffer but feared endangering the rest of the lives in his care.

This seminar sequence leads into scenes aboard the ship, alternating with mostly mystifying chorus numbers. Perhaps the most controversial moments involve those in which the four terrorists are presented as human beings—terrible, twisted villains, yes, but also real people with motivations behind their heinous actions.

For example, Mamoud the scary and moving Aubrey Allicock sings of his favorite popular songs as he fiddles with a radio while guarding the captain.

Jesse Kovarsky as the youngest hijacker, the one who pulls the trigger on the wheelchair-bound title character, expresses his violent urges through dance in an electrifying performance.

Maria Zifchak, Theodora Hanslowe, and Michaela Martens illuminate the heartbreaking significance of the seemingly trivial details in these arias.

Martens later delivers a devastating finale when Mrs. The contrasting arias of the title character, beautifully performed by Alan Opie, exemplify the strengths and weakness of the work.

In his first solo, the handicapped Klinghoffer bravely snaps back at the terrorists after a vicious vocal assault by the most venomous of the quartet Ryan Speedo Green in an appropriately brutal turn.

November 2, On the Town Lyric Theatre Reviewed by David Sheward O n the Town , the iconic musical following three sailors pursuing romance while on a hour leave in wartime Gotham, has had a strange life since its premiere.

That watershed original staging marked the Broadway debuts of a quartet of talents whose collective influence on the American musical has been nothing less than seismic: composer Leonard Bernstein, director-choreographer Jerome Robbins, and book authors—lyricists Betty Comden and Adolph Green who also played leading roles.

A weird hybrid of the sophisticated sensibilities of Bernstein and Robbins and the showbiz sketch humor of Comden and Green, Town was a smash-hit celebration of youthful exuberance having one last fling before facing the perils of war.

Revivals in and did not strike the right balance between high and low culture, received mixed notices, and achieved only brief runs.

In its latest incarnation at the newly renamed Lyric, director John Rando, who won a Tony for his outlandish staging of Urinetown , has restored the zany cartoon aspect of the show.

Bridgework, Lucy Schmeeler, Professor Figment—but there is also just the right hint of sentimentality amid the shenanigans. But the biggest contribution toward blending the satiric with the humane is made by Tony Yazbeck as Gaby, the lovelorn serviceman.

He sees her poster on the subway and immediately falls in love. There are also riotously effective contributions from a deep-voiced Philip Boykin, a pompous Michael Rupert, an antic Allison Guinn, and a versatile Stephen DeRosa.

Altogether a wonderful Town. October 20, What other Broadway star—and he is one of the few whose name alone sells tickets—could breathe comic oxygen into a dated script and overcome a comatose co-star?

The castmate that Lane carries is Matthew Broderick, his compatriot from The Producers and The Odd Couple. Play first appeared Off-Broadway in productions in at Manhattan Punch Line and Manhattan Theatre Club and before that it closed out of town in Philadelphia under the title Broadway, Broadway in I saw the Philadelphia and MTC productions.

The current incarnation, which features several updates, revisions, and edits a female cab driver delivering the much-awaited NY Times review has been dropped , is the least of those three.

Many of the conditions the characters complain about no longer exist or are no longer funny. The chief theater critic of the Times is not as powerful as the position once was, and the current office-holder is not British.

Internet forums are called chat boards now, not chat rooms, and David Mamet is not the only author who uses foul language.

The actor lands every punchline at exactly the right moment, guaranteeing maximum guffaws. He accurately skewers almost every big name on Broadway—including his own.

This is, until Broderick shows up and slows everything down. Totally lacking in vitally, the former Ferris Bueller seems to be phoning his performance in…from a hospital bed.

The remainder of the cast delivers mixed results. Despite the use of a cane due to a knee injury, Stockard Channing is firing on all cylinders as a pill-popping, coke-snorting diva.

Rupert Grint is effectively gruff as a nasty British director, the polar opposite of his nebbishy Ron Weasley persona from the Harry Potter films By the way, the joke involving Grint and the cloak of invisibility falls flat.

Grint needs to work on his vocal projection; too much of his dialogue was unintelligible. Murray Abraham is miscast but game as a snide theater critic.

Newcomer Micah Stock is drolly deadpan as a fresh-off-the-bus coat-check boy. October 10, The comic template is familiar through variations from The Munsters TV series to La Cage Aux Folles.

But the Pulitzer winning script by George S. Kaufman and Moss Hart holds up admirably while director Scott Ellis and a delightful cast of Broadway vets runs the mad antics like comic clockwork.

The inevitable clash between the fun-loving Sycamores and the stuffy Kirbys provides the plot, but main action is watching an enormous—by contemporary Broadway standards—company expertly cut up.

B est known for his dramatic turns, Jones displays a bubbly humor as the warmhearted Grandpa, particularly when convincing the ulcer-ridden broker Kirby Senior the expert Byron Jennings to relax a little and stop obsessing over wealth.

Reg Rogers draws guffaws as the Russian ballet master Kalenkhov, stretching out his lines and loping around the stage like a Slavic Snagglepuss.

Even the tiniest cameos shine brightly here with Johanna Day adding subtext to the snobbish Mrs. Kirby, Elizabeth Ashley imperially imposing as an exiled Russian duchess working as a waitress, and Julie Halston drunkenly lurching up the stairs as an alcoholic visitor.

Likewise Brill endows Ed with a pretended sophistication manifesting itself in riotously weird gestures and behavior. They are a perfect pair of lovable loons, happy in their own world, just like all the Sycamores and theatergoers lucky enough to catch them.

September 28, This Is Our Youth Cort Theatre Reviewed by David Sheward K enneth Lonergan first burst onto the theatrical scene in with an Off-Broadway production of This Is Our Youth , a scathing but ultimately touching update of Rebel Without a Cause.

Like the James Dean movie classic, Youth focuses on a trio of teenagers struggling to find home and connection when the adults in their lives have let them fend for themselves.

Nearly 20 years after its premiere, director Anna D. Shapiro has given the play a shot of adrenaline and a warm beating heart with Kieran Culkin and Michael Cera contributing mightily to both.

The play opens in the squalid studio apartment of Dennis Ziegler the electric Culkin , an arrogant alpha male who supplements his earnings as a bike messenger by dealing drugs to his fellow slackers.

The apartment is paid for by his parents—a famous painter and a strident social worker—to get him out of their hair. Warren has been thrown out by his abusive father, a lingerie tycoon with crime connections.

B ut the loose plot is not really the driving force of this insightful character study. The two are like battling siblings with Dennis bullying and berating the younger, attention-hungry Warren who accepts his taunts and begs for more.

They act like unruly, squabbling children, but there is a sort of love between them born of their rejection by self-centered parents. The unseen adults are a subtle metaphor for the ego-driven larger society that has continued to be just as narcissistic.

Unfortunately, website whiz kid Tavi Gevinson, in her stage debut, plays her on a limited scale of notes from jittery insecurity to petulant anger.

Culkin and Cera are the main attraction here. Culkin manages to make the arrogant Dennis charming, even likable. His scalding monologue over the phone to an overweight fellow dealer is a riot.

At first, Warren seems like a laughable, infantile loser, tossing a football around and lovingly caring for the vintage toys he drags around in a cumbersome suitcase.

The play ends with Dennis and Warren surrounded by the wreckage of their aimless weekend, commiserating over their broken homes.

Hysterically funny and heartbreakingly sad, this is anything but a wasted Youth. September 18, Epstein has also mixed modern elements with the Elizabethan milieu.

Vital information is conveyed by iPhones and laptops, while battles are fought with swords and modern revolvers. If the battling armies have guns, why not just use them instead of inefficiently hacking each other up?

This mismatching leads to one of too many sore-thumb moments: the fiery Hotspur shooting his computer at the conclusion of the scene with his equally hot-tempered lady.

The action made no sense. The most affecting sequence in the production involves Ingram, Block as Justice Silence, and Kevin G. Coleman as Justice Shallow.

All three as elderly compatriots attempt a merry dance from their youth. As they clumsily and comically execute the steps, we see a trio attempt to briefly recapture the joy of their earlier revels and note the cruelty of passing time.

If only there had been more like it in this uneven production. August 11, The original takes places in the 18th-century home of the richest man in Vienna, where an opera composer and his diva are forced to share the stage with a troupe of low-comedy dancers.

The composer, a trouser role written for a soprano voice, is played as a woman, which leads to a lesbian connection between the musician and Zerbinetta.

Zambello skillfully puts across both the ridiculous and the sublime. Carlton Ford offers sturdy and sexy support as her chief sidekick Harlequin.

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