Off Broadway
Audible’s Lucy Builds Tension, But to What End?
It starts with the distinct profile of a pregnant woman, dressed all in black in a well-appointed apartment. She’s standing there. Hesitant and nervous. Waiting for the world to start moving forward. Impatient and apprehensive for what it may bring. There are no visible signs that this is a home for or of a child. So we incorrectly believe this might be her first. She chops at the pillows, not knowing what’s in store for her in this next chapter, but we feel the tension. And that state, miraculously and wisely, never leaves Erica Schmidt‘s new play, Lucy, now playing at the Minetta Lane Theatre through February 25.
Mary, played with a raw frazzled energy by Brooke Bloom (Signature’s Everybody), is a captivatingly fixated presence. She almost vibrates with intent and anxiety. She’s waiting to interview a nanny and clearly wants to approach this with the same sense of certainty that she does with her intense hospital job. It’s also apparent that when Ashling, the soon-to-be new nanny arrives, Mary is floating in a muck of imperfect concern, even as she masks it with a working person’s structural confidence. Yet, we feel the dread of inadequacy entering the space, especially as we watch Ashling, played engagingly by Lynn Collins (Public’s Hamlet), display a worrisome approach to caregiving, planting red flags with every overly optimistic answer and inappropriate ‘joke’ she renders. You can feel the disagreements coming, and we all know that this alignment will end badly, but the question is in what way, when, and just how badly this is going to go.
This single mother, created captivatingly by playwright Schmidt, is a complicated construction, floating out disturbingly in her overly controlling fixation on her six-year-old daughter, Lucy. She’s tightly controlling of her daughter’s sleep schedule, her approach to exercise, and her ability to entertain herself. It is as disconcerting as every time Ashling, the new nanny nods with a sing-song agreement to everything the mother tells her to do, with us knowing full well that Ashling is going to discard the instruction as easily as a child does when they don’t want to do it. This, I’m guessing, is the formula behind the play; a tense unpacking of the right and wrong, even in the benign. Ashling’s defiance is over simple caregiving choices, like making soup when she is told not to, which seems slight until Mary points out the obvious. “Because I asked you not to.” We register the discomforting way she talks about her love of her other ‘boys’ and how her little girls never seem to hold that much weight in her heart. It makes us worry about Lucy, the namesake of the play, and the explosion that is sure to be coming along soon. But we can’t quite put our finger on what the tension we are feeling throughout will ultimately lead to. Which in the end is the point yet also the disappointment that stays once this one-act, two-hour play comes to its final dismantling exit.
As directed somewhat awkwardly by the playwright herself, Schmidt (Red Bull Theater’s Mac Beth) displays dissidence within and outside the structure and flow of the piece. It’s never quite clear what the focus is, nor why this play is named after the six-year-old daughter, Lucy, played cutely by Charlotte Surak (Broadway’s Waitress). She is greeted with a cute “awe” by the audience, as she wanders in and out, liking soup and the teddy bear, yet speaking ominously of a witch with no eyes. That point isn’t taken very far, or played with near enough, much like a number of comments dropped on the floor like fruit loops on a rushed morning. But does this child really hold the attention that the title implies? I wanted her dilemma to become somewhat enmeshed with the overall conflict of these two perfectly cast actors playing opposing maternal figures. Brooke Bloom (Mary) and Lynn Collins (Ashling) dynamically unpack the rolled-together conflicts that must reside inside every primary caregiver, that balancing of impulses that oppose one another and cause endless sleepless nights worrying about what is right or wrong. And in Lucy, they get played out in front of us, embodied in two tight solid performances, colliding against one another in a battle to the bitter end.
Mary confesses early on, almost without self-awareness, “I never felt anger in my life until I had her.” But we also see that this particularly tense part of her is fundamentally balanced by her fierce overwhelming devotion to her children. Her home reflects her control, as designed somewhat broadly by Amy Rubin (Signature’s Octet), with strong lighting by Cha See (TNG’s One in Two) and a clear sound design by Justin Ellington (Broadway’s Ohio State Murders). Mary doesn’t have Ashling’s free-floating spirit, well structured and obvious in the costuming by Kaye Voyce (Vineyard’s Harry Clarke), which is at times comforting yet disconcerting. So we don’t quite know what to make of Ashling. I kept feeling very wary of the nanny and her ability to maneuver around any overt obstacle without batting an eye, and even though Mary’s maternal instincts seem really off balance and intense, she isn’t outside her right to ask for what she wants for her children. Even if we disagree.
Ashling’s many acts of defiance slowly set off alarm bells to both Mary and us, yet we wonder what the turning point will be. Unfortunately for Audible’s Lucy, the crash is just slight, and unworthy of our attention to all those details presented. I wanted something with greater insight, rather than a threateningly mediocre slamming of the story’s door as the pairing comes to an end. What happens after? I’m guessing not much of interest. It feels like it wraps up like a shrug, even if we were fully experiencing the tense air just minutes prior. So we leave Audible’s Minetta Lane Theatre with a shrug, and at least for me, a grateful sigh (both positively and negatively) that nothing terrible happened because of Mary’s tight anger and Ashling’s bohemian disregard. But nothing brilliant happened either.
Broadway
Theatre News: Smash, I Need That, Good Night, Oscar, Funny Girl, This Beautiful Lady and In The Trenches: A Parenting Musical
The NBC television series Smash is coming to Broadway for the 2024-2025 season. Robert Greenblatt, Neil Meron and Steven Spielberg will produce. The musical will feature a book co-written by three-time Tony Award nominee Rick Elice and Tony winner Bob Martin. Tony and Grammy winners Marc Shaiman and Scott Wittman (Some Like It Hot). The team earned three Emmy nominations for their songs from the “Smash” series will pen the score, which will feature numbers from the TV show.
Five-time Tony winner Susan Stroman (New York, New York) will direct and Tony nominee and Emmy Award winner Joshua Bergasse will choreograph.
The series was created by Theresa Rebeck and Spielberg, launch the series. Spielberg is also one of the co-producers of Good Night, Oscar, which begins performances at the Belasco Theatre on April 7.
Official dates, theater, creative team and casting for the “Smash” stage musical will be announced at a later date.
Speaking of the Pulitzer Prize finalist playwright Theresa Rebeck, Danny DeVito and Lucy DeVito are set to star in her new play I Need That at the Roundabout. The new comedy will be directed by Tony nominee Moritz von Stuelpnagel which will open at the American Airlines Theatre in October. The cast will also include Ray Anthony Thomas. … Also newly announced for Roundabout’s new Broadway season is a spring 2024 revival of Samm-Art Williams’ 1980 Tony-nominated play “Home.” Tony winner Kenny Leon will direct
Speaking of Good Night, Oscar, Doug Wright’s play was named finalist for 2023 new play award by The American Theatre Critics Association. The other six finalists for the 2023 Harold and Mimi Steinberg/ATCA New Play Award include: Born With Teeth by Liz Duffy Adams, the ripple, the wave that carried me home by Christina Anderson, Sally & Tom by Suzan-Lori Parks, Spay by Madison Fiedler and
Swing State by Rebecca Gilman.
Paolo Montalban and Anne L. Nathan are joining Lea Michele in Funny Girl as Florenz Ziegfield and Mrs. Strakosh. Montalban and Nathan will replace original cast members Peter Francis James and Toni DiBuono, who take their final bows on March 26th.
Elizabeth Swados’ This Beautiful Lady will play at La MaMa this May. Previews will begin May 5 for the Off-Broadway run ahead of the May 8 press opening, with performances set through May 28 in the Ellen Stewart Theatre.
In The Trenches: A Parenting Musical, with book, music, and lyrics by Graham & Kristina Fuller, will receive industry readings on Friday, March 24th at 11am & 3pm at Ripley Grier Studios. The readings will be directed by Jen Wineman (Dog Man: The Musical) and will feature music direction by Rebekah Bruce (Mean Girls) and arrangements by Dan Graeber, Graham & Kristina Fuller.
The cast of In The Trenches features Amanda Jane Cooper (Wicked), Jelani Remy (The Lion King, Ain’t Too Proud), Christine Dwyer (Wicked), Caesar Samayoa (Come From Away), Max Crumm (Grease, Disaster!), and Vidushi Goyal.Join two bleary-eyed young parents as they trudge through the trenches and discover their new post-baby identities. In an evening of new-parent greatest hits, a foul-mouthed toddler zeroes in on “the most dangerous thing in the room”, tap dancing towards bleach, knives, and tide pods; a chronically-overlooked younger sibling sings the “second child blues”; a mom trio celebrates yoga pants in an R&B love song to the “official mom uniform”; dad discovers he’s not the “ice-cream and movie-night cool parent” but rather the “do your homework real parent” amid a kiddo sugar-crash; and mom retrieves a sticky, hair-covered pacifier from the floor of a LaGuardia bathroom while her baby screams bloody murder and her flight boards without her.
Events
Jason Robert Brown, Chuck Cooper, Janet Dacal, Sutton Foster, Lillias White and More To Perform at TheaterWorksUSA Spring Gala
TheaterWorksUSA, currently presenting the hit family show Dog Man The Musical at New World Stages, will host its annual Spring Gala on Monday, April 24 (cocktails begin at 6 PM) at The Current at Chelsea Piers.
100% of the net proceeds from the event will support our mission to create exceptional, transformative theatrical experiences that are accessible to young and family audiences in diverse communities across New York City and North America.
This year TWUSA will honor Lisa Chanel (TWUSA Board Chair 2019-2022), Andréa Burns (Award-winning Broadway actress & educator), Peter Flynn (TWUSA alumnus and award-winning director, writer, and educator), and Holly McGhee (Founder and Creator of Pippin Properties, New York Times best selling author). The event will feature appearances by some of Broadway’s biggest stars, including Jason Robert Brown, Chuck Cooper, Janet Dacal, Kevin Del Aguila, Sutton Foster, Lillias White and more.
On behalf of TheaterWorksUSA’s Board of Directors, we are thrilled to celebrate the people who have generously supported our mission, making it possible for us to bring high-quality theater to young audiences of all backgrounds throughout the country. We look forward to recognizing Lisa, Andréa, Peter, and Holly publicly at this very special event. – Tracy A. Stein, Board Chair
It’s a privilege to honor these individuals for playing such an important role in the work we do. Their vision, creativity, and ongoing commitment to our mission is truly something to celebrate. They are very much a part of our TheaterworksUSA family.- Barbara Pasternack, Artistic Director
TheaterWorksUSA (Barbara Pasternack, Artistic Director; Michael Harrington, Executive Director) has led the Theater for Young and Family Audiences movement in New York City and across North America for over half a century. At TWUSA, we believe that access to art—and theater, in particular—is vital for our youth. Since 1961, the 501(c)3 not-for-profit has captured the imaginations of 100 million new and veteran theatergoers with an award-winning repertoire of over 140 original plays and musicals. Acclaimed alumni include Kristen Anderson-Lopez and Robert Lopez (Disney’s Frozen), Daphne Rubin-Vega (Rent), Jerry Zaks (The Music Man), Benj Pasek and Justin Paul (Dear Evan Hansen), Miguel Cervantes (Hamilton), Kathleen Chalfant (Angels in America), and Chuck Cooper (Tony award-winning actor, The Life). WWW.TWUSA.ORG
Broadway
Theatre News: Bob Fosse’s Dancin’, Parade, The Shubert Organization Donates to ECF and Millennials Are Killing Musicals,
Tovah Feldshuh, Huma Abedin, Hillary Clinton at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Secretary Hillary Rodham Clinton at Bob Fosse’s DANCIN’. Photo by Bruce Glikas
The curtain was raised last night at The Music Box Theatre (239 West 45th Street) as Bob Fosse’s Dancin’, the American showbusiness legend’s landmark musical tribute to the artform that defined his life, opened on Broadway 45 years after the original smash-hit production premiered. The production’s direction and musical staging is by Tony Award-winner Wayne Cilento, one of the stars of the original Broadway production, and is produced in cooperation with Nicole Fosse.
Wayne Cilento and Bernadette Peters. Photo by Emilio Madrid
Chita Rivera at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
In attendance on opening night were Secretary Hillary Rodham Clinton, Nicole Fosse; original A Chorus Line cast members Baayork Lee, Donna McKechnie, Priscilla Lopez; Chita Rivera; Erich Bergen; Jordan E. Cooper; Tovah Feldshuh; J. Harrison Ghee; Jane Krakowski; Adam Lambert; Ralph Macchio; Abby Lee Miller; Audra McDonald; Casey Nicholaw; Justin Peck; Tiler Peck; Bernadette Peters; Tonya Pinkins; Tony Roberts; David Rockwell; Krysta Rodriguez; Christopher Sieber; Jennifer Simard; Will Swenson and more.
A CHORUS LINE original cast members Priscilla Lopez,Donna McKechnie Baayork Lee photo by Bruce Glikas
Priscilla Lopez at Opening Night of DANCIN. Photo by Emilio Madrid
Dancin’is Fosse’s full-throated, full-bodied celebration of dancers and dancing. Utterly reimagined for the 21st century, this Dancin’brims with a level of warmth, emotion, and color seldom seen in modern interpretations of Fosse’s influential style and features some of his most inventive and rarely performed choreography. With New York’s hottest cast performing wall-to-wall dance, including Fosse classics such as “Mr. Bojangles,” and “Sing Sing Sing.” Dancin’ delivers the quintessential Broadway experience for Fosse fans and first-timers alike. You think you’ve seen dancing, but you’ve never seen Dancin’like this.
Cast of Bob Fosse’s DANCIN’ Opening Night photo by Emilio Madrid
Curtain call of Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
The cast, consisting of some of the best of Broadway’s elite dancers includes Ioana Alfonso (Hometown: Miami via DR/PR), Yeman Brown (Hometown: Tallahassee, FL), Peter John Chursin (Hometown: San Francisco, CA), Dylis Croman (Hometown: Dallas, TX), Jovan Dansberry (Hometown: St. Louis, MO), Karli Dinardo (Hometown: Melbourne, Australia), Tony d’Alelio (Hometown: Roanoke, VA), Aydin Eyikan (Hometown: Fairfield, CT), Pedro Garza (Hometown: Abilene, Texas), Jacob Guzman (Hometown: Brockton, MA), Manuel Herrera (Hometown: Charlotte, NC), Afra Hines (Hometown: Miami, FL), Gabriel Hyman (Hometown: Chesapeake, VA), Kolton Krouse (Hometown: Gilbert, Arizona), Mattie Love(Hometown: Layton, UT), Krystal Mackie (Hometown: Brooklyn, NY), Yani Marin (Hometown: Miami, FL), Nando Morland (Hometown: Colombia / Denver, CO), Khori Michelle Petinaud (Hometown: Centreville, VA), Ida Saki (Hometown: Dallas, TX), Ron Todorowski (Hometown: Pittsburgh, PA), and Neka Zang (Hometown: Scottsdale, AZ).
Adam Lambert at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Abby Lee Miller at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Bob Fosse’s Dancin’ is produced by Joey Parnes, Hunter Arnold, Kayla Greenspan, Rodger Hess & Michael Seago, Jay Alix & Una Jackman, Bob Boyett, The Shubert Organization, James L. Nederlander, Tim Forbes, Carson Gleberman, Park West Productions, McCabe Ventures, Fran Kirmser & Jodi Kaplan, Greg Young, The Fabulous Invalid, Julie Hess & Tommy Hess, and The Old Globe in cooperation with Nicole Fosse.
Wayne Cilento at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Nicole Fosse at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Bob Fosse’s Dancin’ originally opened on Broadway at the Broadhurst Theatre on March 27, 1978 and later transferred to the Ambassador Theatre. The production ran for 1,774 performances. Dancin’ was nominated for seven Tony Awards, including Best Musical, and brought Fosse his seventh Tony Award for Best Choreography.
Nicole Fosse and Wayne Cilento photo by Emilio Madrid
This production of Bob Fosse’s Dancin’ premiered at San Diego’s Old Globe Theatre from April 19, 2022, to June 5, 2022.
Interscope Records is proud to announce the cast album for the “brilliant” (Variety) 2023 revival of Parade — Alfred Uhry and Jason Robert Brown’s award-winning musical, which opened on March 16 at New York’s Bernard B. Jacobs Theatre to rave reviews. Parade (2023 Broadway Cast Recording) features the vocal talents of Tony, Grammy, and Emmy Award® winner Ben Platt and Micaela Diamond and conducted by composer Jason Robert Brown, and will be released on Thursday, March 23. Pre-order it HERE.
Leo and Lucille Frank (Ben Platt and Micaela Diamond) are a newlywed Jewish couple struggling to make a life in the old red hills of Georgia. When Leo is accused of an unspeakable crime, it propels them into an unimaginable test of faith, humanity, justice, and devotion. Riveting and gloriously hopeful, Parade reminds us that to love, we must truly see one another.
The current revival of Parade, which is directed by two-time Tony Award nominee Michael Arden, has received overwhelming acclaim since its debut. Entertainment Weekly called it “a phenomenal production that feels more poignant and powerful than ever,” while Variety said, “Ben Platt stuns in a powerful Broadway production of an essential American musical.”
Platt (Dear Evan Hansen, The Book of Mormon) and Diamond’s performances (The Cher Show) were singled out for praise. Deadline gushed “Ben Platt has no trouble reminding us just why he’s become one of Broadway’s most beloved performers. His vocals here are stunning in a pitch-perfect performance,” while The Guardian raved that “Micaela Diamond’s singing voice is luminous.” “Micaela Diamond, as Lucille Frank, breaks your heart with no affectation whatsoever, and a voice directly wired to her emotions,” wrote The New York Times in its Critic’s Pick review. Tickets are available now at www.paradebroadway.com.
Parade (2023 Broadway Cast Recording) showcases their voices, as well as other members of the all-star cast, while capturing the essence of a musical that, Entertainment Weekly writes, “is the most gorgeous production on Broadway.” Viewers will get a special preview of the musical on March 23 when Platt and Diamond perform its signature ballad “This Is Not Over Yet” on NBC’s Today accompanied by Jason Robert Brown on piano.
Out of the Box Theatrics (Elizabeth Flemming, Founder and Producing Artistic Director; Ethan Paulini, Associate Artistic Director) is pleased to announce that Grammy and Emmy Award winner Kristolyn Lloyd (Dear Evan Hansen) will star in the Off-Broadway developmental production of Millennials Are Killing Musicals, written by Drama League songwriting contest and NAMT Challenge winner Nico Juber. The production, to be directed by Ciara Renée(Waitress, Frozen), will play a limited engagement from May 7-28, 2023, at Theatre 71 at the Church of the Blessed Sacrament (152 West 71st Street). Opening night is May 15. Tickets are on sale now at Ovation Tix.
Bob Wankel Photo by Natalie Powers
The Entertainment Community Fund, formerly The Actors Fund, the national human services organization supporting the needs of those working in the entertainment and performing arts industry, today announced that The Shubert Organization has made a $5 million gift to the Fund to support expansion of The Samuel J. Friedman Health Center for the Performing Arts in New York City, the Actors Fund Home in Englewood, New Jersey, and affordable housing and a community arts center at The Hollywood Arts Collective in Los Angeles.
The $5 million gift will be used to expand doctors’ offices and services at The Samuel J. Friedman Health Center for the Performing Arts in New York City, with additional support to the Actors Fund Home in Englewood, NJ. Funds will also be used to bolster the construction and programs of The Hollywood Arts Collective, a new affordable housing and community arts center located in the heart of Hollywood where the Central Gardens will be named in honor of The Shubert Organization.
The Shubert Organization has long supported the Fund’s ongoing work to help people in performing arts and entertainment. In 2017, The Shubert Organization unveiled The Shubert Pavilion: an expansion to the Actors Fund Home, an assisted living and skilled nursing care facility located in Englewood, New Jersey. The Shubert Pavilion houses a 25-bed short-stay rehabilitation center available to the general public and intended for people who are recovering from illness or surgery, as well as 14 assisted living beds. The facility also includes a fully equipped gym for physical, occupational and speech therapies.
Robert E. Wankel, Chairman and CEO of The Shubert Organization, also serves as Chair of The Actors Fund Housing Development Corporation Board of Directors, a role in which he supports and guides the development of affordable housing for the performing arts and entertainment community to improve lives, create jobs, foster economic development and revitalize communities. In 2022, Wankel received the Entertainment Community Fund’s Medal of Honor, an award presented at the Fund’s annual gala that recognizes individuals who have had a profound impact on the entertainment community.
“The Entertainment Community Fund is honored by the long-standing commitment of The Shubert Organization and the countless ways it supports our work to provide a safety net for people in the performing arts community,” said Fund Board Chair Brian Stokes Mitchell. “A special thank you to Bob Wankel for his continued leadership not only at The Shubert Organization, but also with the Actors Fund Housing Development Corporation Board of Directors.”
“The Shubert Organization is proud to strengthen the Entertainment Community Fund’s ability to provide affordable housing, medical care, emergency financial assistance and so much more to those in our industry,” said Robert E. Wankel. “We look forward to all that’s to come in our ongoing collaborations, from Englewood to Times Square to Hollywood and beyond.”
-
Tech2 years agoHow to Take Advantage of Virtual Numbers for SMS
-
Business2 years agoEntre Institute Review – Is Jeff Lerner’s Program a Scam?
-
Entertainment2 years agoA Star is Born – Barvina Takes Entertainment World by Storm
-
Events3 months agoNew Year’s Eve Traditions In The US and Around The World
-
Film9 months agoElvis and The Mob Connection
-
Broadway2 years agoBroadway Reopening: The Theatre Listings
-
Spiritual2 years agoThe History of Numerology
-
Events2 years agoThe Question On Everyone’s Mind Should Be How Did The Haitians Get To Mexico
-
Family2 years agoWho Is Justine Ang Fonte and Why Are We Letting Her Near Children?
-
Broadway11 months agoFunny Girl Makes Julie Benko a Star