Top 10 Lists of Top 10 Theater 2017: The Band’s Visit, Doll’s House, Bruce, Bette.

“The Band’s Visit” is a favorite of all but one of the drama critics whose top 10 lists for New York theater in 2017 are listed below. (The only critic to omit it this year, David Rooney of The Hollywood Reporter, put it on his list last year when the musical based on an Israeli indie film was Off-Broadway. It opened on Broadway last month.)  Also popular this year:  “A Doll’s House, Part 2” (on eight lists). “Springsteen on Broadway” and “Hello, Dolly” (five each.) “Jitney” and “Mary Jane” (four each.)

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The Children Review: A Quiet Apocalypse, A Surprise Reckoning

“The Children” begins as what seems like a small, slow domestic drama about three aged friends in an English seaside cottage, but turns into an unsettling meditation on some very large themes — life, death, the responsibility of one generation to the next, the poisoning of the planet.

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Fiasco’s Twelfth Night: Review, Pics

Fiasco Theater offers a Twelfth Night for theatergoers who’ve never seen Twelfth Night or Fiasco Theater before.
For almost a decade, the ensemble company has been praised for its bare-bones productions of Shakespeare (and one Sondheim) that have been both intelligible and inventive. At CSC, they are delivering the Bard’s Christmas season comedy of mistaken identity with their customary clarity, but without that extra spark that characterized their Cymbelline or Into The Woods.

Full review on DC Theatre Scene

Top 10 New York Theater in 2017 To Be Grateful For

For all the Broadway box office records set in 2017, the year in New York theater felt tentative, in transition, as if both theater artists and audiences were trying to figure out how to deal with the changed, and charged, political landscape. Some shows offered the escapist route, like Hello, Dolly with Bette Midler or SpongeBob SquarePants; these crowd pleasers generally didn’t please me enough to include in my top ten. Other shows went in the opposite direction, offering some form of social or political engagement. With one exception (see below), the less satisfying of these dealt directly with politics or political activism in the narrow sense (The Parisian Woman or Michael Moore’s The Terms of My Surrender) or previewed a political apocalypse (1984.) Many of my favorites of 2017 paint a realistic picture of people fighting against a sense of hopelessness; but in telling their stories, the shows paradoxically provide us with a sense of hope – and sometimes a blueprint for action. Theater at its best can function as both a place of refuge and a resource.

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Poll: Worst Broadway Show 2017

Welcome to my sixth annual Worst Broadway Show poll. Pick the show you thought was the worst to open on Broadway in 2017.
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Free Tickets for Three Days – Goldstar’s Comp Train

From December 13 to 15th, get free tickets to live theater, and other live events — dance, comedy, opera — through Goldstar’s Comp Train promotion. You pay a small service fee.

Check out Goldstar’s everyday ticket deals too, which include deep discounts to some Broadway shows.

Bulldozer Review: Constantine Maroulis as Robert Moses, Singing Power Broker

To outsiders, a rock musical that presents a long-dead public official as a tragic villain, and a disagreement over public policy as high drama, might sound ludicrous from the get-go. But the central character in “Bulldozer: The Ballad of Robert Moses,” portrayed by Constantine Maroulis, was one of the most powerful figures in New York history, and Robert Moses continues to fascinate a certain breed of New Yorker. I am one of those New Yorkers, and so obviously are the show’s creators, Peter Galperin and Daniel Scot Kadin. We are, in other words, people who have read “The Power Broker,” Robert Caro’s mammoth 1974 biography of Robert Moses, one of the best-written and most celebrated books about New York City.
“Bulldozer,” which is decently directed and professionally performed by a hardworking five-member cast, does turn out to be ludicrous in several of its choices, but not because of its choice of subject.
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