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The urbane humorist and journalist Calvin Trillin adapts his 2007 memoir into his first full-length play. The subject is his relationship with his cherished wife of 36 years, Alice, who died of cancer in 2001. Jeffrey Bean and Carrie Paff star in the world premiere, directed by Leonard Foglia (Master Class).
The Spring Awakening team of Duncan Sheik and Steven Sater reunites for a new musical set in London during World War II and inspired by Lewis Carroll's Wonderland books. A teenage girl and her sickly friend escape into Carroll's stories for respite from the fearsome world around them. Director Jessie Nelson (Waitress) is co-credited with the book; the cast includes Molly Gordon, Colton Ryan, Grace McLean, Wesley Taylor, Andrew Kober and Noah Galvin.
Nearly two decades after its 2000 premiere in Dublin, and after multiple productions around the world, writer-director John Breen's award-winning play makes its NYC debut as part of the Origins 1st Irish Festival. The subject is a 1978 rugby match between the world-class New Zealand All Blacks and a scrappy Irish team that won the game in an upset rout.
Ali Ewoldt, who has played soprano-in-distress Christine Daaé in The Phantom of the Opera for the past two years, leaves the opera house behind for the greener pastures of Prince Edward Island in writer-director Chris Henry's two-part adaptation of Lucy Maud Montgomery's cherished novel. A fully staged production of the first half—with Ewoldt performing all the text, joined by five dancers choreographed Lorna Ventura—is presented in rep with a workshop version of the second.
Young Scottish magician Scott Silven drops by the McKittrick Hotel for dinner, whiskey and light hocus-pocus in this elegant variation on dinner theater, which returns this fall after a sold-out run in 2017. Audience members are seated around a large table in what used to be the Heath restaurant, upstairs in the complex that also houses Sleep No More and Gallow Green. The story Silvan threads through his show is on the hokey side, and the magic is largely standard-issue mentalism. (There’s a lot of guessing what people have drawn on pads.) But it’s an enjoyable diversion overall; the intimate candlelit atmosphere, welcoming spirit and delicious food and drinks do the trick.
Classic Stage Company mounts adaptations of two plays by the 19th-century Swedish pot-stirrer August Strindberg, presented in rep. Shariffa Ali directs a revival of Yaël Farber's Mies Julie, a version of Stringberg's psychosexual drama Miss Julie that is set in post-Apartheid South Africa and was last staged in NYC in 2012; the cast comprises Elise Kibler, James Udom, Vinie Burrows and Patrice Johnson Chevannes. Victoria Clark directs Conor McPherson's account of The Dance of Death, a bleak marital showdown that stars Cassie Beck, Richard Topol and Christopher Innvar.
After many years, the sassy and clever puppet musical doesn’t show its age. Robert Lopez and Jeff Marx’s deft Sesame Street–esque novelty tunes about porn and racism still earn their laughs. Avenue Q remains a sly and winning piece of metamusical tomfoolery. Running time: 2hrs 15mins. One intermission.
Sixteen people from different backgrounds converse about hot-button topics—including race relations, immigration and gun violence—in K. Lorrel Manning's examination of modern degrees of wokeness. Manning himself directs the premiere for the Barrow Group Theatre Company.
Theater review by Diane Snyder They were the subjects of a medical experiment and had no control over what happened to their bodies. But the pain endured by the enslaved women operated on by J. Marion Sims—the 19th-century American doctor who became known as the “Father of Modern Gynecology”—led to a breakthrough in obstetric surgery, and it’s the inspiration for Charly Evon Simpson’s harrowing new play, Behind the Sheet. Mixing fictional characters with facts from Sims’s life and work, Simpson delivers an evenhanded portrait of George Barry (Joel Ripka), a white doctor and plantation owner in 1840s Alabama as ignorant about the feelings of African-Americans as he is about the inner lives of women. Although married, he has impregnated one of his slaves, Philomena (Naomi Lorrain), who helps him with his work until a lengthy labor leaves her with a fistula that causes incontinence. Philomena joins other stricken slaves whom the doctor has subjected to surgeries without anesthesia—Mary (Amber Reauchean Williams), Sally (Cristina Pitter) and Dinah (Jehan O. Young)—while another woman, Betty (Nia Calloway), takes her place in the household. It’s at this point that the play reaches its pinnacle. Directed with subtle force by Colette Robert, Behind the Sheet shows these women trying to heal by sharing their suffering. Their pain is not just physical, despite the multiple procedures they have endured; they’re also mourning the loss of children, who either died in childbirth or ha
After declaring bankruptcy in 2016 to widespread lamentations, the family-friendly circus came bouncing back to life at Lincoln Center last year, and now returns for its 41st season with a show that aim to throw some spotlights on women. New ringmaster Stephanie Monseu presides over a spectacle that includes a trapeze routine by the Flying Tunizianis, a trampoline act created by Andréanne Quintal, and an acrobatic duet, performed by Virginia Tuells and Ihosvanys Perez, in which she does most of the heavy lifting.
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