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He Says: ATC’s Sunday on a Saturday with the PH’s Heroes of the Fourth Turning Proudly Shooting in from Above



On a long but fascinating Saturday, I attended too very different theatrical debates. One was a gaggle of twenty-somethings high on vodka and cocaine debating literature, privilege, and toxicity, and the other was an alcohol-infused discussion by the far-right on political agenda and Christian identity. Both were late-night, wildly combative dances due to the drunkenness of unfiltered truth. But only one really captured the essence of authentic humanity and its deep-rooted human conflicts, and it was not the one I expected. I also must add that neither are gatherings I would want to attend, let alone be entrapped in the devises of their theoretical debates, post-ironic jokes, and spiritual assertions, deliberating and engaging in the drill of reflectiveness and self-pity. Only one of the meetings pulled me in though, keeping me curious and attentive.  The other just made me feel old and cranky.

Maurice Jones (Bill), Sadie Scott (Marie) and Ruby Frankel (Alice) in Atlantic Theater Company’s World Premiere production of Sunday at Atlantic Theater Company. Photo Credit: Monique Carboni.

Spiraling into the night, backed by a towering collection of hardback novels, collected but not loved, a group of young adults; twenty-somethings trying to understand their relationships to one another and the world that surrounds them, gather on a Sunday night for book club. Guided into a youth culture of disappointment and dismissive verbiage by an awkwardly scripted narrator, played earnestly by Alice Ruby Frankel (AAS’s The Seagull), Atlantic Theater Company delivers to the door the World premier of Sunday at the Linda Gross Theater, a new work by playwright Jack Thorne (Broadway’s King KongHarry Potter…) that attempts to give us a new vantage point on the lives of these young somewhat dysfunctional and erratic souls.

Zane Pais (Milo), Juliana Canfield (Gil), Ruby Frankel (Alice), Sadie Scott (Marie) and Christian Strange (Keith) in Atlantic Theater Company’s World Premiere production of Sunday at Atlantic Theater Company. Photo Credit: Monique Carboni

As directed with oddly inserted choreography by Lee Sunday Evans (LCT3’s In the Green), the evening of novel introspection is bookended with an interaction more interesting than anything in between. A nervous neighbor by the name of Bill, portrayed with quiet intensity by Maurice Jones (MTC’s Linda) comes to the door, asking the tenants to keep it down tonight, as it is Sunday and he knows they are having a gathering. Marie, gently played by Sadie Scott (TNG’s Downtown Race Riot) assures him that it is just a friendly book club, not a party, and that they will be quiet. It’s clear almost instantly that this is not going to be the case, especially as we watch the attendees arrive one by one with a stifling bland introduction by the narrator.  The structural narration feels lazy, giving us all this info and nuance for each rather than letting the story and their interactions do the work. And it is presented by one of the most unclear and least likable characters at the gathering. He keeps feeding us, like spoonfuls of corn flakes mixed with guacamole, as if we are as helpless as these participants to understand the complexities of their time and age, and the modern choreography dance breaks do little to deepen our engagement and understanding. It’s as if Evans wants to throw so much inventiveness at as to keep us feeling like this is something deeper and more profound than it is, as the insights don’t really add up to a heightened pile of books.

Ruby Frankel (Alice), Juliana Canfield (Gil), Zane Pais (Milo) and Sadie Scott(Marie) in Atlantic Theater Company’s World Premiere production of Sunday at Atlantic Theater Company’s Linda Gross Theater (336 West 20th Street). Photo Credit: Monique Carboni

The play, written by an established playwright, feeling unfocused, like a young person’s attempt for understanding in the modern digital world. It sadly fails to engage, wrestling with the hyper-intellectual critique of privilege, and inauthentic friendship. I didn’t understand the impulses of Jill, portrayed by the talented Juliana Canfield (TFANA’s He Brought Her Heart…) and her attachment to the handsome, but horridly rude Milo played by the game Zane Pais (CSC’s Dead Poets Society), unless she is trying to inform us of the superficiality and the blindness of this generation.  Her character, even with the kind and warm connection she attempts to have with the troubled and complex Marie, is given little to engage nor connect clearly with, beyond Milo’s monied charm and good looks. Keith, tightly portrayed by Christian Strange (Alex Dinelaris’ “In This, Our Time“) climbs around on the books showing his desperation, while never really giving us much of a view inside. It’s a shame, but the fault lies not with the actors, as they are trying to give us a gentle tragedy filled with sweet reveals and truthful reactions, but with the context and the interactive exchanges. It all rings false, with the beats and the impulses firing up and falling down, as these five don’t really feel like friends, or as people who know, or even like, one another deeply.  They feel more like random constructs fulfilling quotas on qualities and types. It’s a gathering I would have hated to be stuck in, and never would have stayed beyond the first drink, let alone the descriptions of their defining moments in life and legend as they left late into the night.

Maurice Jones (Bill) and Sadie Scott (Marie) in Atlantic Theater Company’s World Premiere production of Sunday at Atlantic Theater Company’s Linda Gross Theater (336 West 20th Street). Photo Credit: Monique Carboni.

But on a thoughtfully esoterically pilled set by scenic designer Brett J. Banakis (Broadway’s The Cher Show), with strong costuming by Ntokozo Fuzunina Kunene (Public’s Wild Goose Dreams), telling lighting by Masha Tsimring (PH’s Noura), solid sound by Lee Kinney (Signature’s Thom Pain…), and pulse enlivening original music by Daniel Kluger (PH’s I Was Most Alive…), the Sunday evening book club only finds its compelling lost ingredient after the kids run off into the night. It’s in Bill’s return, where the defining moment of Sunday finally arrives and saves the piece from destruction. In what is described as the most boring man around, Jones’ Bill gives us shades of what truly is missing in the morality of those twenty-somethings hearts. Even in the clumsiness of the back and forth dialogue with Marie, an essence of authenticity is finally felt; fleeting, but true. The beats of interconnection don’t solve the dilemma, but they at least make us sit up and take notice.

Sadie Scott (Marie) and Juliana Canfield (Gil) in Atlantic Theater Company’sWorld Premiere production of Sunday at Atlantic Theater Company’s Linda Gross Theater (336 West 20th Street). Photo Credit: Monique Carboni.
Heroes of the Fourth TurningWritten by Will Arbery Directed by Danya Taymor
John Zdrojeski, Zoë Winters, Jeb Kreager, Julia McDermott in Heroes of the Fourth Turning at Playwrights Horizons. Photo by Joan Marcus.

Over and up at Playwrights Horizons, another new play, Heroes of the Fourth Turning by playwright Will Arbery (Piano, Evanston Salt Costs Climbing), finds a clearer task in its straightforwardness, and an inner courage beyond just trying to be modern and unique. It’s a quick blast into a brutal beginning that shapes our perspective on these folks, courtesy of the finely focused Justin, directly portrayed by Jeb Kreager (LCT/Broadway’s Oslo). The play in its simplicity, solidly sets forth an agenda, giving us a much needed view into the backyard dynamics of the other side, perfectly designed by the talented Laura Jellinek (PH’s A Life), with strong subtle lighting by Isabella Byrd (PH’s The Thanksgiving Play), exacting costuming by Sarafina Bush (Greenwich House’s Broadway Bounty Hunter), and startling sound by Justin Ellington (LCT’s The Rolling Stone). Arbery has stated in an interview, “People say, who are these people that voted for Trump?” and in Heroes… we are given the difficult opportunity to join a few of them for a late night gathering to listen in as they discuss the religious war that is coming, and to try to understand the expanse of the grateful acre under their feet. It’s jaw-dropping-ly difficult and ear crushingly obscure, but it works, leading us to the roots of a Christian republic and mindset that truly believes in the “natural good” that should be operating within our society.

Heroes of the Fourth TurningWritten by Will Arbery Directed by Danya Taymor
John Zdrojeski, Jeb Kreager, Zoë Winters in Heroes of the Fourth Turning at Playwrights Horizons. Photo by Joan Marcus.

Set in a small Wyoming town on August 19, 2017, the former fellow students of a right wing university gather to celebrate the naming of its new president, but its noteworthy to realize, as we are told, that this is also the day that Stephen Bannon, chief strategist for the Orange Monster, is fired (although Bannon insists that the parting of ways was his idea). It is also known and reported that he will return to Breitbart News, and begin his ramped up war against all those who oppose Trump, and that battle cry is regurgitated here clearly and defiantly in this peaceful backyard by a few of his devoted followers.

Once again, we find ourselves joining in with a pack of entangled souls at a party that I wouldn’t want to be at, but as directed with a sharp focus and deliberate action by Danya Taymor (Vineyard/TNG’s “Daddy”), the debate is one that pulls us in, even when the ideas and slogans turn our collective “nice young liberal” stomachs inside out. Don’t start with all that empathy, demands the impassioned and iconoclastic Teresa, played to prickly perfection by Zoë Winters (Public’s White Noise). We can find poetry in her fiery offensive war talk to the messy easily-influenced Kevin, portrayed drunkenly by the creative John Zdrojeski (13th Street’s Before We’re Gone) but it leaves a harsh aftertaste. Teresa’s fast-talking proposal of leveling up and prepping for battle rings solidly true, frighteningly so, as it is not new to our ears. We watch, uncomfortably, as it is easily digested by the weak-minded and confused Justin, a “future-priest type who always wants a girlfriend and doesn’t know quite how to be, but is so sincere and so striving“. It’s a compelling litany of information, ringing loud and clear, focusing completely on the crisis that she believes is ahead, while failing to give any weight to the artist at hand.

Heroes of the Fourth TurningWritten by Will Arbery Directed by Danya Taymor
John Zdrojeski, Julia McDermott in Heroes of the Fourth Turning at Playwrights Horizons. Photo by Joan Marcus.

These are the people, most clearly, who have given rise to the current abomination administration, and it’s uncomfortable to watch, even when given the softer voice of suffering Emily, beautifully organized by Julia McDermott (Druid’s Epiphany). She is the pained daughter of the heavyweight leader, Gina, dynamically embodied by the fantastic Michele Pawk (Broadway’s Cabaret, PH’s A Small Fire) who everyone waits to see. The clash of ideals and disappointments finally arrive, but in unexpected ways and means, forcibly and diametrically giving us conflicting ideas existing in the same wide open space. At first it’s Emily’s openness being slapped aside by Teresa’s sure-footedness, but the real battle is within former teacher Gina and past student Teresa. This is where the backyard battle truly heats up in a way that is most thrilling to watch, even though there isn’t a side I’m willing to sit on, as both are problematic to my liberal Canadian heart.

Teresa embodies the strident believer who digs in deep to “The Fourth Turning“, a pop history book by William Straus and Neil Howe that was published in 1997, that describes the generational cycle of destruction and reconstruction. It informs her, almost as clearly as the lives of the liberals she studies, and lives among in Brooklyn, of her true righteousness and stance against liberalism. She’s entrenched in this structural view, one that a New York Times article wrote about and that Steve Bannon is obsessed with. She is quick to lay claim to the ideas it fosters, spouting them off as if they were channelled through her from God, including the idea of a war that we are in the midst of.  She’s intent on judging anyone who doesn’t want to join the battle cry, especially people like Emily’s friend who works for Planned Parenthood, in a way that is both provocative but recognizable, while also being confident in her direction to stand up to the powerful Gina and the serious Catholic intellectuals that she represents, who think about liberty in a society that answers to its people and honoring the promise of freedom in America as ordained by God.

Heroes of the Fourth TurningWritten by Will Arbery Directed by Danya Taymor
Michele Pawk, John Zdrojeski, Zoë Winters in Heroes of the Fourth Turning at Playwrights Horizons. Photo by Joan Marcus.

The broken generator sounds its own earth shattering conclusion, as we watch the forces stagger off into the night. Kevin speaks of a dream in the mountain that is mysterious and beautiful. Emily, inexplicably being triggered by her buddy Justin, stands up towards a different state of being. It’s all powerful and ugly, joyfully harsh and dynamic, giving words to those generally ignored in the New York theater world, with little to balance our liberal beliefs on. As Asbery comments: “Your heart screams at the people you love sometimes. It rages against them And then you come back to them, and you love them, and you move forward.” This is a telling statement, and in Emily, somewhere, there is that similar testament to love, faith, and suffering, one that rang far more true and clear in the hearts of Heroes… than it did in the five twenty-something brats discussing self-pity and depressive thoughts during Sunday night book club. It was quite the Saturday.

John Zdrojeski, Julia McDermott in Heroes of the Fourth Turning at Playwrights Horizons. Photo by Joan Marcus.

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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


Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof




For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.

Jessica Chastain in A Doll’s House. Courtesy of A Doll’s House.

But over at Broadway’s Hudson Theatre, a reformulation chirps most wisely and wonderfully, bringing depth and focus to a classic Henrik Ibsen (Hedda Gabler) play that I didn’t realize was in such need of an adaptation. With no extravagance at its core, Amy Herzog (Mary Jane) dynamically takes the detailed structure and beautifully adapted it with due purpose. It hypnotizes, dragging in a number of light wooden chairs, Scandinavian in style, I believe, onto the stage, one by one, by their black-clad counterparts in a determined effort to unpack what will unfold. There is no artifice to hide behind in this rendering, as designed most impeccably by scenic and co-costume designer Soutra Gilmour (NT’s My Brilliant Friend; Broadway’s & Juliet) and co-costume designer Enver Chakartash (Broadway’s Is This A Room), only A Doll’s House’s celebrated star, Jessica Chastain (Broadway’s The Heiress; “The Eyes of Tammy Faye“) rotating the expanse of the bare stage before the others join her slowly and deliberately. She sits, arms crossed, staring, daring us to look away, while knowing full well we won’t. Or can’t. And without a word, it feels like she has us exactly where she wants us. Needs us to be. And all that transpires before the play even begins.

They sit on that bare and stark stage, waiting, in a way, to be played with, like dolls patiently wanting some children to come and give them a voice through their imagination. As Nora, Chastain delivers forward a performance that is unparalleled. To witness what transpires across her face during the course of this extra fine adaptation is to engage in a dance so delicately embroidered that we can’t help but be moved and transported. She barely moves from her chair, as others, like the equally wonderful Arian Moayed (Broadway’s The Humans) as Torvald, are rotated in to sit beside her, conversing and delivering magnified lines, thanks to the brilliant work of sound designers Ben & Max Ringham (West End’s Prima Facie), that dig deep into the underbelly of the complicated interactions. This pair of actors find a pathway through the darkness, never letting us come to any conclusions until they are ready to unleash a moment that will leave you breathless. This is particularly true for Moayed’s Torvald, who seems decent enough at the beginning, but once the shift occurs, when the beautiful thing doesn’t happen as it should, his unveiling is as gut-wrenching to us as it is to Nora. Even though we knew it was coming long before the play even began to spin forward.

Arian Moayed, Jesmille Darbouze, Okieriete Onaodowan, Tasha Lawrence, Jessica Chastain, and Michael Patrick Thornton in A Doll’s House. Courtesy of A Doll’s House.

The art of the unfolding is steeped within the whole, refocused inside the brilliant shading, shadowing, and starkness of the cast. As Krogstad, the powerful Okieriete Onaodowan (Broadway’s Hamilton), alongside the deliciously tight Jesmille Darbouze (Broadway’s Kiss Me, Kate) as Kristine, find an engagement that sits perfectly in the structuring. They push the reforming to the edge, approaching and receding away from Chastain’s brilliant centering helping move the piece towards the required conclusion.

The same can be said of the wonderful Tasha Lawrence (LCT’s Pipeline) as Anne-Marie, and the exquisitely emotional turning of Michael Patrick Thornton (Broadway’s Macbeth) as Dr. Rank. Thornton, in particular, finds a telling and emotional space to connect, unearthing an engagement that breaks the circle apart, leaving Chastain’s Nora and all of us observers shattered and broken in its black X’d finality.

As directed with the same magnificently detailed energy and flat-walled framework as the previously seen Betrayal on Broadway and the West End, Jamie Lloyd gives us A Doll’s House that will never be forgotten. The focus is so deliberate, and the formulations are just so strong, pushed forward in black and white by the exacting lighting design of Jon Clark (West End/Broadway’s The Lehman Trilogy). Forced while remaining ever so intimate, the cascading of the statement delivered registers in a precise way, more exacting than I ever remembered, and I’ve seen numerous renditions of this epic play. And even though, from what I hear, many on the left couldn’t see the epic exit of Nora, a moment that typically registers throughout theatre history, the symbol of a woman, steadfast and true, leaving the safe and simple artifice of A Doll’s House for engagement in the hard cruel reality of the world outside is as clear as can be. The delicacies of this birdie trapped inside a cage, poisoned with lies and excuses, and beautifully brought forth by Chastain, registers the reasonings for this revival to exist. It has found a new and deliberate place to sing, and for that, I am truly grateful.

Arian Moayed and Jessica Chastain in A Doll’s House. Courtesy of A Doll’s House
Matt de Rogatis in Ruth Stage’s CAT ON A HOT TIN ROOF. Photo by Max Bieber.

I wish I could say the same about Ruth Stage‘s modern take on the Tennessee Williams (A Streetcar Named Desire) classic, Cat on a Hot Tin Roof, currently being re-delivered at the Theatre at St. Clements. As directed by Joe Rosario (Hemingway and Me; Ruth Stages’ The Exhibition), the play doesn’t find its rationale for existing in the modern day beyond the simplistic sexualization of its boxing-ring corners. Matt de Rogatis (Austin Pendleton’s Wars of the Roses) as the tense athletic Brick stays broken and damaged in his corner, riding out the moment, waiting for the click, while in the other corner is the tense Maggie, played without hesitation by Courtney Henggeler (Netflix’s “Cobra Kai“) poised and ready for the bell to ring.

The battle is only heightened by the presence of two other fighters in the opposing corners, Big Daddy, played with determination by Frederick Weller (Broadway’s To Kill a Mockingbird) in the third, and Big Mama, played with a strong intent by Alison Fraser (Gingold Theatrical’s Heartbreak House), in the fourth. And watching and cheering for their own personal perspective wins are the obnoxious Mae, typically portrayed by Christine Copley (although I believe I saw an understudy), the weasely Gooper, played by Adam Dodway (Theatre Row’s Small Craft Warnings), Rev. Tooker portrayed by Milton Elliott (Ruth Stage’s Hamlet), and Doc Baugh, typically played by Jim Kempner (“The Girlfriend Experience“) (although, once again, I believe I saw an understudy).

Frederick Weller and Alison Fraser in Ruth Stage’s CAT ON A HOT TIN ROOF. Photo by Max Bieber.

Generally, this is a battle that rages deceptively strong and subtle for the length of the play, swimming cruelly in the hazy heat of its Southern charm. But somewhere in this modernization, the reasonings never get fully realized, leaving the cast to wander in their stereotypical delivery without a sharp focal point in the horizon to zero in on. Hidden behind the bar and the drink, de Rogatis finds a Brick to be engaged with. He’s definitely handsome and desirable, especially in the eyes of the far-too-straightforward Henggeler’s Maggie the Cat, and his occupation of drinking rings more true than most. I’m not sure if the modernization has been created to fit his chest-baring delivery of a broken Brick, but I will say that his artful approach to the part is one of the stronger components of this otherwise clunky reimagining.

Given so much to unpack, Henggeler runs a little too fast and furious, not weaving a pause into her thoughts and actions. It’s all forward flowing, ignoring the laws of silence and deliberation. Big Mama and Big Daddy, ignoring the fact that they don’t seem to fit in with their surroundings or the set-up, find their way into the same cage as the two central figure fighters, giving us something else to contemplate in their constructs, beyond their tight fitting jeans and dress. There’s not much of a father/son connection, nor does their familial energy register, even as it moves and twitches within the pauses well. The details of attachment are lost, as they talk around things, with everyone else playing at high volume, courtesy of a sound design by Tomás Correa (Hudson Street’s Adam & Eve), delivering the Southern drawl with the intensity of an SNL skit. That’s a problem to the whole and one that doesn’t work for this rendering.

Courtney Henggeler in Ruth Stage’s CAT ON A HOT TIN ROOF. Photo by Max Bieber.

Most of the cast is all hock and no spit, moving around the room with a strange case of physicalized mendacity while never really finding a reason for their existence. The artifice gets in the way of the movement, especially in Matthew Imhoff’s (off-Broadway’s soot and spit) busy and overly clumsy set, with some distracting fading in and out by lighting designer Christian Specht’s (SSTI’s Cabaret). The storm approaching is as false as the formula and the reasoning for this retelling. It showcases some basically good actors embracing the chance to play iconic Big roles that I’m sure they have always wanted to dig their Southern-accented chomps into, possibly because one or two of them might never otherwise get the chance as they don’t exactly fit the literal sashaying of the “fat old” bodies out and around the staging of this play. The idea breeds curiosity, but one that doesn’t save this Cat on a Hot Tin Roof from falling quick and hard from its perch, I’m sad to say. While the birdie in A Doll’s House flies strong out into the cool Broadway air, with solid reasoning on its stark wings, reminding us all what makes for a worthy reimagining of a classic.

Frederick Weller in Ruth Stage’s CAT ON A HOT TIN ROOF. Photo by Max Bieber.
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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. 

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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

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