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Isabelle Fuhrman, Abigail Breslin

Isabelle Fuhrman, Abigail Breslin. Photos by Monique Carboni.

I wonder if seeing the musical, Kid Victory set me up in some way for the tense outcome of this sexualized drama currently being produced by The New Group. All the Fine Boys, a new play by Erica Schmidt, starts out charmingly enough but where it wants to lead us is a bit more troubling than the innocent beginning suggests. Two young teenage girls are having a sleepover; gossiping, playing truth or dare, and about to watch numerous cheesy slasher films. The horror movie titles set my brain a-tingling.  Are we being given a hint as to what horror is approaching? This is when Kid Victory‘s abduction story line first popped into my head, and I wondered, are we in for something similar? Or even more graphic? Or am I being paranoid?

Abigail Breslin, Joe Tippett

Abigail Breslin, Joe Tippett. Photo by Monique Carboni.

Just like every teenage slasher movie, the action starts in the basement of young pretty Jenny’s home, (a very fast talking Abigail Breslin) chattering on and on about boys, boys, and more about boys in that quick staccato way young girls speak. Emily, (a sweet natured Isabelle Fuhrman) gives off a slightly more nervous approach to her age, or is it insecurity with a dash of quiet desperation. It’s unclear but she seems to be the more sympathetic character of the two. She is new to the town, and we instantly see her as the one we can attach some love and care to. Jenny, although trying to exude a more world-weary demeanor to her small town boredom, seems the more reckless of the two. Her dream is to be seen as someone of importance. For what, she doesn’t seem to care, which surprises Emily. Jenny just desperately needs to be seen and loved, regardless of the reason.
 Isabelle Fuhrman, Alex Wolf

Isabelle Fuhrman, Alex Wolff. Photo by Monique Carboni.

This is a very telling descriptive difference between these two fourteen year olds. Together, they give off a feeling of unfocused energy in their speedy delivery of dialogue, typical of girls their age. It’s a compelling first scene, and leaves you curious about what is going to happen to these very different girls.  At this point, not surprisingly, the stories veer off from one another, with a slightly off balance time sequence from the other. The unequal time frames reveal hints of what has happened before the have had the chance to play out with the other. It’s an interesting game, giving us foreboding clues, while suggesting that terrible things are coming. It definitely adds a much-needed layer of interest to a story that seems to take a long time to progress. The scenes shift back and forth, and as directed by the playwright, Schmidt, the off-sync overlapping narrative is clumsy without giving much advancement to the story. I would have liked to see what a different director would have done to the piece, as sometimes distance from the material breeds insight. The design is simple enough (scenic: Amy Rubin; costume: Tom Broecker; lighting: Jeff Croiter) but disconcerting and awkward in its actualization. Climbing over discarded props and clothes from the previous scenes that have no relevance in the moment is one complication, and having the two girls look at each other when talking on the phone is another. Both cause a disconnect in the believability and authenticity of the action. The momentum is erratic and disjointed, and over the course of this 100-minute play, so is our interest.

Abigail Breslin, Isabelle Fuhrman

Abigail Breslin, Isabelle Fuhrman. Photo by Monique Carboni.

I’m not quite sure what the playwright/director is trying to tell us about teenage girls and the guys they set their sights on. The story follows the ever challenging and frightening dive these two girls make into sexual awakening and their thirst for womanhood. Both girls choose older, although we only vaguely understand why. Emily gushes over her high school crush, Adam (Alex Wolff), which seems more obvious and naively sweet. Jenny, the braver of the two (or some may say reckless) gets in the car with an older (late 20’s, just to be clear) guy, Joseph (Joe Tippett). Tippett (who was absolutely wonderful in PH’s Familiar) is definitely an appealing and handsome man; boyish while also being manly, and he brings the complicated soul to life here for the most part. But Breslin disappoints as her character is largely one note while also being annoying. Both choices find these girls way out of their safety zone, and there is definitely a feeling that something terrible is on its way. The path through sexual exploration in All the Fine Boys is not a place of safety or security for either of these two, but they both keep driving forward, oblivious to the warning signs on the road; one because of a young kind of love, the other for some kind of attention.
Isabelle Fuhrman, Alex Wolff

Isabelle Fuhrman, Alex Wolff. Photo by Monique Carboni.

It is a bit disconcerting watching Breslin play the fast talking teenage girl, who is self-absorbed and a tad difficult.  She is a hard nut to care about, as her energy and personality seem careless, selfish, and disconnected. There is a dullness to her sexuality that seems out of place to the character and the situation that she puts herself in.  The attraction of these two, doesn’t ring entirely true and the awkwardness of the whole scenario doesn’t help.  The outcome is clear, but the intention isn’t.
Abigail Breslin, Joe Tippett

Abigail Breslin, Joe Tippett. Photo by Monique Carboni.

Emily’s descent into love and attraction seems a bit more realistic, while also being quite sad, as Alex Wolff’s Adam is an odd contradiction.  His pretentious ideals that he preaches to Emily should be bathed in obliviousness and immature confidence, but he seems to be smiling and winking at her and us with the knowledge of how foolish he in fact sounds. It adds a level of humor to the whole scenario, but not authenticity.  Emily buys into his worldly knowledge completely which makes her desire and pain believable, although only from her side. The last scene between these two feels like too broad of a flip for Adam, while Emily’s empowerment gives us at least some hope for one of these girls.
Little did I know, but the wearing of my Spring Awakening tee shirt was never more appropriate than that day. This story is all about the burning desire for love and attention from someone or anyone who can help these young girls along the road to actualizing womanhood. It seems to be one dangerous winding road. Emily’s plight is the most centered of the lot while Joseph’s uncontrollable desire and flaw seems believable and tragic. But the ones these two are paired with are either difficult to care for, or hard to believe in.  It makes for some lopsided scenes and some disconnected moments. There seems to only be one fine girl and a lot of messed up others.
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My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

Off Broadway

Meet The Playwrights of The NY Summer Theater Festival: Dan Brown Brings His Profound Sense of Writing of The Human Condition To Life



Dan Brown is a writer/director from NYC. In 2013 he released the documentary film- John Cori Warned You. In 2020, Dan published a collection of fiction writing- The Sometimes Why. In ’21 he directed the theatre production-Tales From the Sometimes Why. In January ’23 he debuted the stage show; The Eleven Story Drop. His play- The Mollies was selected to the Queens Short Play Festival.

In Sunshine Unlimited a 14 minute play at The New York Festival we meet Martin who was promoted to management. He is the first African American to be elevated to an executive position, but it seems not just , fanfare within the company is linked to the promotion. Months later when his hiring is still being celebrated, Martin experiences doubts about his boss, and himself. Is racism still wrong when the perpetrators have good intentions. Is one truly a victim when racism come with a raise and window view?

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Off Broadway

Step Inside The New Musical The Gospel According to Heather



Tony nominee Paul Gordon’s new musical The Gospel According to Heather will premiere Off-Broadway this summer at Theatre 555, with performances beginning June 14 ahead of a June 22 opening night. The limited run will continue through July 9.

On Monday the cast premiered a few of the numbers and talked to the press. In this video meet Brittany Nicole Williams (The Prom), Maria Habeeb, Carlos Alcala, Lauren Elder (Hair), Carson Stewart, Donna Trikoff the artistic producer of Amas Musical Theatre, Katey Sagal  (The Connors, Sons of Anarchy, Married with Children) as “Agatha,” Jeremy Kushnier (Atomic, Footloose) and composer, lyricist and book writer Paul Gordon.

In The Gospel According to Heather, Heather Krebs wants a boyfriend, but how can she navigate her way through high school if she might be the new Messiah? A small town in Ohio grapples with politics, religion, and teenage romance in the pop musical featuring a book, music, and lyrics by Tony nominee Gordon (Jane Eyre).

The Gospel According to Heather is being presented by Amas Musical Theatre in association with Jim Kierstead, Broadway Factor, Linda Karn and David Bryant.

All video’s by Magda Katz

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Ken Fallin’s Broadway: Jeremy Jordan



It has been announced that Tony and Grammy Award nominee Jeremy Jordan will return to Skid Row in Little Shop of Horrors and resume the lead role of Seymour. Jordan joins Joy Woods (Six) as Audrey, beginning Tuesday, July 25, 2023 for a strictly limited 8 week engagement through Sunday, September 17, 2023 at The Westside Theatre (407 West 43rd Street). As previously announced, Tony Award Winner Matt Doyle (Company) will play his final performance on July 16, 2023.
This drawing features Jeremy in his Tony and Grammy nominated performance as performance as Jack Kelly in Newsies.
In 2011, prior to Newsies, Jeremy originated the role  of Clyde Barrow in Bonnie & Clyde. This earned him the Theatre World. T2C’s Suzanna Bowling caught up with him at the Theatre World Awards this Monday.
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Off Broadway

Sunshine Unlimited Soars With Truth at The New York Theatre Festival



Dan Brown’s Sunshine Unlimited was part of The New York Theatre Festival shorts. Sitting through four other shorts Brown’s powerful words, superb direction also by Brown and the strong acting choices by Sean Philips were refreshingly riveting. These were not the words from a first time playwright, but of someone who understands language and how people feel.

Sean Philips and Alonda Jones

Sunshine Unlimited is about how the African American, Black male resents being a quota, paraded around, being classified by his skin color and having to act as if it is ok. Martin (Philips) has been the executive director for his company for years, yet the poster saying he is the First African American Executive Director still stands in the lobby. The fact that there have been no other African American’s promoted is part of the problem. His girlfriend (Alonda Jones), is proud of him for opening doors for their people and doesn’t want him to rock the boat.

Jaymz Nylon, Linda Nesbit Floria

His father Matin Sr. (Jaymz Nylon) worked for the railroad and on the day he started, so did another man with his same name, so throughout his entire time with the company he was known as “Black” Martin, even when the “White” Martin was promoted. When he complained, he was told the “White” Martin was ok with this so why wasn’t he. His wife (Linda Nesbit Floria) silently supported him, though in fear.

Alexander D. Carney, Sean Philips

One day the younger Martin gets feed up and destroys the poster and his boss (Alexander D. Carney) asks him why. Martin tells him his truth and asks for more African American’s to be hired. Instead of being fired, Martin does open the doors.

This play is more of a 14 minute monologue, where you see the other people, but they do not talk. I would love to see Sunshine Unlimited expanded, so that each of the characters explains their thoughts as succinctly as Martin does. With the generational gaps and gender versions of how we see life, this could prove to be Pulitzer Prize winning. I know I sat on the edge of my seat the entire time and saw this problem with new eyes.

Sean Philips gives an award winning performance as he draws you into Martin’s plight. I would love to see more of his work, as well as more content from Mr. Brown.

This is a playwright to keep on your radar, as he is so prolific and I think has much to say that is worth listening to.

Sunshine Unlimited: The New York Theatre Festival, closed.

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Theatre News: Doubt: A Parable, Here Lies Love, Prayer for the French Republic, Eisenhower and Hell’s Kitchen



Tyne Daily

Tyne Daly and Liev Schreiber will star in a revival of Doubt: A Parable on Broadway. The production is to begin performances next February at the American Airlines Theater.

The new production is produced by the Roundabout Theater Company, and will be directed by Scott Ellis, who has been serving as the nonprofit’s interim artistic director since the death of artistic director Todd Haimes in April.

The play, by John Patrick Shanley, is about a nun who suspects a priest has sexually abused a student at a Catholic school. In 2005, the year it first opened on Broadway, it won both the Pulitzer Prize for drama and the Tony Award for best play; it was later adapted into a film and an opera.

Daly, who will play the nun who serves as the school principal, and Schreiber, who will play the parish priest, are both Tony winners. Daly, is known for her role in  “Cagney & Lacey”. She won the 1990 Tony Award for her portrayal as Mama Rose in the revival of Gypsy. Schreiber, is the star of Showtime’s “Ray Donovan.” He won a Tony Award in 2005 for a revival of Glengarry Glen Ross.

Doubt is one of three plays to be staged by Roundabout this coming season. The others are I Need That, a new play  by Theresa Rebek starring Danny DeVito alongside his daughter, Lucy, and Home, a 1979 revival, directed by Kenny Leon, by Samm-Art Williams.

David Byrne, Fatboy Slim and Here Lies Love are causing controversy with their July Broadway debut. The show’s extensive use of prerecorded music has the American Federation of Musicians’ Local 802, up in arms. The Local’s Broadway musical contract stipulate that productions employ 19 live musicians.

In response to the union’s concerns, Byrne and the show’s PR team released a statement on Instagram to lay out the production’s revolutionary format and genre-bending originality. Here Lies Love is not a traditional Broadway musical. The music is drawn outside of the traditional music genre. The performance of the live vocals to pre-recorded, artificial tracks is paramount to its artistic concept. Production has ripped out the seats in the theater and built a dance floor. There is no longer a proscenium stage. The Broadway Theater has been transformed into a nightclub, with every theatergoer immersed in the experience.

Here Lies Love is on Broadway because Broadway must support boundary-pushing creative work. Broadway is also the venue for a well conceived, high-quality show that highlights the valued traditions of specific cultures whose stories have never been on its stages. Here Lies Love does not believe in artistic gatekeepers. Here Lies Love believes in a Broadway for everyone, where new creative forms push the medium and create new traditions and audiences.

I saw Here Lies Love at The Public and not sure what kind of fast talking this is, but this statement rings false and full of how can we cut the costs while sticking it to the audience.

Photo by Murphymade

Prayer for the French Republic, by Joshua Harmon is coming to Broadway this season.This award-winning Off Broadway production played to rave reviews at The Manhattan Theatre Club. The production was the winner of the 2022 Drama Desk Award for Outstanding Play and Outer Critics Circle Award for Outstanding New Off-Broadway Play. Broadway performances will begin previews on Tuesday, December 19, at the Samuel J. Friedman Theatre, with an official opening night on Tuesday, January 9, 2024. David Cromer directs.

Off Broadway: Tony winner John Rubinstein starts previews June 13 at St. Clement’s in one-man show Eisenhower.

Alicia Keys’ musical Hell’s Kitchen will run at The Public Theater from October 24 – December 10, starring Shoshana Bean. Inspired by Keys’ own life, the new musical features an original score by the 15-time Grammy-winning singer-songwriter, with a book by Kristoffer Diaz. Hell’s Kitchen will be directed by Michael Greif and choreographed by Camille A. Brown.

Leading the cast will be Maleah Joi Moon as Ali, opposite Bean as Ali’s mother Jersey, with Brandon Victor Dixon as Ali’s father Davis, Chad Carstarphen as Ray, Vanessa Ferguson as Tiny, Crystal Monee Hall as Crystal, Chris Lee as Knuck, Jackie Leon as Jessica, Kecia Lewis as Ali’s piano teacher Miss Liza Jane, Mariand Torres as Maria, and Lamont Walker II as Riq.

Completing the cast are Reid Clarke, Chloe Davis, Nico DeJesus, Timothy L. Edwards, Raechelle Manalo, Sarah Parker, and Niki Saludez, with understudies Badia Farha, Gianna Harris, Onyxx Noel, William Roberson, and Donna Vivino.

The musical is described as a coming-of-age story set in a cramped apartment in the neighborhood of the title near Times Square, where 17-year-old Ali is desperate to get her piece of the New York dream. Ali’s mother is just as determined to protect her daughter from the same mistakes she made. When Ali falls for a talented young drummer, both mother and daughter must face hard truths about race, defiance, and growing up.

The production has set design by Robert Brill, costumes by Dede Ayite, lighting by Natasha Katz, sound by Gareth Owens, and projection design by Peter Nigrini.


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