Broadway
He Says: MTC’s Cost of Living Spins a Fascinating and Compelling Net of Complicated Care and Sorrow
“That’s from the Bible,” he tells us, as the complications stream out, jumping backward in order to get to the moment that would bring us full circle. To a place where “holidays are hard” and the drinks are on this grieving man. The pain of loneliness sits real and strong on that barstool and we can’t help but be pulled into his orbit. We wonder how he got to this place where there is nowhere to hide, and we feel for his journey even when we, and he, knows the ghost texts aren’t true.
David Zayas in MTC’s Cost of Living. Photo Credit: Julieta Cervantes (2022).
It’s a compelling, emotional beginning; these messages (not) from a dead wife, signaling the complicated sorrow that exists within. This is his cost of living and loving. The monologue, put forth pitch-perfectly by David Zayas (Broadway’s Anna in the Tropics), delivers us completely to the net that was supposed to be him. That’s the lesson in love and attachment, and what is basically at the heart of Manhattan Theatre Club’s solid and engaging production of Martyna Majok’s Cost of Living.
The intimate and seductive play revolves itself forward, delivering two scenarios that resemble each other, but are weighed down by different functions and connections. We try to string together these scenes with each other, and with the one that opened up this strongly crafted play by Majok (Sanctuary City) that was awarded the 2018 Pulitzer Prize for Drama after a celebrated run at MTC’s Stage I, but the gaps in that net are too widely spaced. The fascinating part of this puzzle is that we have complete faith that this deeply personal exploration of the human condition will find its way home and that Brooklyn bar, and that we will be rewarded for maintaining that faith.
Directed with a sharp focused empathy by the phenomenally wise Jo Bonney (NYTW’s An Ordinary Muslim), Cost of Living is at the heart of this two pronged revolve, with one side occupied grandly by a young man named John, played strongly by Gregg Mozgala (Public’s Teenage Dick), a PhD student with cerebral palsy who hires a tense and desperate Princeton grad by the name of Jess, played heroically by the exceptional Kara Young (magnificent in Broadway’s Clyde’s). Jess has some struggles that hang with weight on her small frame. She tells John that she is currently working several jobs to keep a float, but this is the cost she has taken on, or been thrust into, it’s hard to know exactly. But their connection is palpable from the moment he decides to hire her to care for him, which she does with an openness and care that is deeply touching.
Unrelated to that, the other half of the revolve belongs to the man we were earlier introduced to and an angry woman named Ani, played to perfection by Katy Sullivan (Goodman Theatre’s The Long Red Road). Zayas’ Eddie, a DUI-suspended truck driver arrives to engage with Ani, his estranged wife, for reasons that are quite hard to distinguish. It feels like guilt and some sort of deep shame, possibly connected to the fact that Ani has lost the use of her limbs in an accident of some sort. We lean into their interactions that are filled to the brim with resentment, anger, and concern, but the lines drawn are hard to make out. It fills us with curiosity and the two, in their fiery exchanges, have me in the palm of their talented hands almost immediately.
Directed with a sharp focused empathy by the phenomenally wise Jo Bonney (NYTW’s An Ordinary Muslim), Cost of Living is at the heart of this two pronged revolve, with one side occupied grandly by a young man named John, played strongly by Gregg Mozgala (Public’s Teenage Dick), a PhD student with cerebral palsy who hires a tense and desperate Princeton grad by the name of Jess, played heroically by the exceptional Kara Young (magnificent in Broadway’s Clyde’s). Jess has some struggles that hang with weight on her small frame. She tells John that she is currently working several jobs to keep a float, but this is the cost she has taken on, or been thrust into, it’s hard to know exactly. But their connection is palpable from the moment he decides to hire her to care for him, which she does with an openness and care that is deeply touching.
Unrelated to that, the other half of the revolve belongs to the man we were earlier introduced to and an angry woman named Ani, played to perfection by Katy Sullivan (Goodman Theatre’s The Long Red Road). Zayas’ Eddie, a DUI-suspended truck driver arrives to engage with Ani, his estranged wife, for reasons that are quite hard to distinguish. It feels like guilt and some sort of deep shame, possibly connected to the fact that Ani has lost the use of her limbs in an accident of some sort. We lean into their interactions that are filled to the brim with resentment, anger, and concern, but the lines drawn are hard to make out. It fills us with curiosity and the two, in their fiery exchanges, have me in the palm of their talented hands almost immediately.
For that reason, we lean into their profane interactions with a level of wonder that is unmatched by the other half, at least initially. Their attachment is intense, yet somehow fascinating to untangle, while the other side of the revolve seems to be getting more complicated and tangled with every turn. Neatly coordinated to keep us tuned in, the dynamics of both of the entanglements surge forth on a set designed with clarity by Wilson Chin (Broadway’s Pass Over), with impeccable lighting by Jeff Croiter (Broadway’s Bandstand), costuming by Jessica Pabst (Red Bull Theater’s Mac Beth), and sound design by Robert Kaplowitz (MTC’s Skeleton Crew) with original music composed by Mikaal Sulaiman (Broadway’s Thoughts of a Colored Man),
Majok doesn’t sentimentalize a soul on that stage, including John and Ani, who live with disabilities; one congenital, the other acquired accidentally. Her writing neither fetishized nor uses them or their bodies as a cheap function of plot. But treats them honestly and with a sharpness that is utterly engaging. “It’s fucking retarded,” John states, like a splash of cold water on the face of an awkward Jess as she struggles to find the correct language to describe him. “I’ve never worked with the differently abled.” This attempt doesn’t go over well with John. And his response tells us all we need to know about him, her, the others, and the play in general.
All four actors are superb, delivering intense attachment to one another in the most compelling of ways. We are enthralled by their dynamics and abilities, making our heart pound with excitement or panic when the poetry of Majok’s play demands it. I’ve never heard a crowd gasp for air so deeply as I did during that one moment of submersion and that other moment of dismissal, mainly because the play, and these actors have taken us inside the space so completely. The emotional core lives strongly; in the way they care, for each other and for themselves, and not always in the best of all possible ways. It spins us around, unleashing us to the elements that will either sting or starve. They are all struggling in their own off-to-the-sides kinda way, pushed to the extreme by love, pride, attachment, obliviousness, and fear. Each somehow almost slipping through the holes in their safety net, unlocking and displaying the coldness of the world, without losing the empathy that Majok has for them all.
Oscar and Grammy winner Melissa Etheridge’s autobiographical musical My Window is an informative, riveting, raw, intimate and musically thrilling alsmost 3 hours of entertainment. With 22 albums to her name, Etheridge is a female rock goddess and is on par with Aretha Franklin, Tina Turner, Ann Wilson, Grace Slick, Joan Jett, Pat Benatar, Stevie Nicks, Debbie Harry and the incomparable Janis Joplin.
I originally saw this show when it opened at New World Stages almost a year ago and Etheridge’s theatrical solo show has only gotten better and tighter. She invites theatergoers into an exhilarating evening of storytelling and music. Starting with her birth, we learn about her childhood in Kansas, groundbreaking career highlights, coming out, her lovers, the drugs she has taken, her spiritual journey, her wives, her kids, cancer and what makes Melissa who she is. She is charming, revealing, illuminating as she bares her heart & soul to all who attend.
Photo by Jenny Anderson
In between learning about this bluesy warrior are her confessional lyrics, the raspy, smoky vocals and classics numbers like “Like The Way I Do,” “Twisted Off To Paradise,”“I’m the Only One,” “Come to My Window,” “I Want to Come Over”.
Photo by Jenny Anderson
Winning a tiny trophy gave way to winning a Grammy for Best Female Rock Vocalist in 1998 and again in 1995. Before that in 1993 Etheridge came out publicly, early on in her career. In 2005 Etheridge took the Grammy stage after having cancer to join in a tribute to Janis Joplin. She appeared hairless. Etheridge also won an Oscar for Best Original Song in 2007 for “I Need To Wake Up” for the film “An Inconvenient Truth.”
Photo by Jenny Anderson
It turns out Etheridge has always loved musical theatre, as she treated us to a wonderful rendition of “On Broadway.” She did make her Broadway debut in a weeklong stint as St. Jimmy in Green Day’s American Idiot in 2011, but she doesn’t talk about that.
Melissa Etheridge My Window, is wonderfully is written by Etheridge with additional material by Linda Wallem-Etheridge (“Nurse Jackie” showrunner, “That ’70s Show”). The direction by Amy Tinkham is succent and well done.
Everything about this production is well done from the scenic design by Bruce Rodgers, lighting design by Abigail Rosen Holmes, fabulous projection design by Olivia Sebesky and the sound design by Shannon Salmon, which keeps this show clear and clean.
Kate Owens is hysterical as the Roadie/ Stage Manager. This little girl is a star in the making with her rubber face and facial expressions galore. She adds to this show immensely and I definitely want to see more of what she can do.
This is a must see show for anyone LGBTQIA. The message is positive and life affirming. This is a women who owns her talent, charisma and choices, which makes this a joy to watch.
Photo by Jenny Anderson
Melissa Etheridge My Window: Circle In The Square, 235 West 50th Street. Closes November 19th.
Yesterday we told you how the cast and creative’s met the press.
The cast and creatives
In today’s edition hear director Warren Carlyle, Barry Manilow and Bruce Sussman describe their show.
Then it was a treat as the cast sang 5 songs from the show. Including “Harmony,” Hungarian Rhapsody,” “Where You Go’ and “Stars in the Night.”
Hear The Harmonists Sean Bell, Danny Kornfeld, Zal Owen, Eric Peters, Blake Roman and Steven Telsey, along with Chip Zien, Sierra Boggess and Julie Benko.
The hit song of the show will be the gorgeous ballad “Every Single Day” sung by Danny Kornfeld.
Harmony begins previews at the Barrymore Theatre on Wednesday, October 18, ahead of a Monday, November 13 official opening night.
Photo’s by Genevieve Rafter Keddy
G.H. Harding
JESSE L MARTIN — We caught the debut of Jesse L. Martin’s The Irrational Monday night and really enjoyed it. I’ve been aware of Jesse since his role in Broadway’s Rent and he’s really tremendous. He was great on Law & Order as Ed Green (10 years and 9 seasons); and his role on the CW’s The Flash (as Joe West) was simply terrific.
The show, based on the book by Dan Ariely and created by Arika Mittman, certainly reminds one of The Mentalist or Instinct. This first case isn’t wondrous by any means, but Martin’s charisma carries it all through.
Lauren Holly (NCIS) is in it too, thought her one-scene was over and out in a flash.
I hear the third episode of the show is magnificent, so stay tuned. Don Johnson said many years ago that Don Johnson was made for TV … so is Martin!
Will Swenson and Neil Diamond
SWENSON OUT — (per Deadline) Will Swenson will play his final performance as Neil Diamond in Broadway’s A Beautiful Noise, The Neil Diamond Musical on Sunday, Oct. 29, producers announced today.
A replacement for the starring role will be announced at a future date.
“It’s been the thrill of a lifetime to get to stand in Neil’s shoes,” Swenson said in a statement. “It’s been such an incredible honor to get to know Neil, to tell his powerful story, and bring his amazing songs to Broadway audiences every night. I’m immensely proud of the moving, beautiful show we made. I will miss it very much.”
A reason for Swenson’s departure was not disclosed, but his planned departure date suggests a year-long contract coming to a close: He and the bio-musical began previews at the Broadhurst Theatre last Nov. 2 (official opening was Dec. 4).
“Making A Beautiful Noise with Will Swenson was a deep and wonderful experience,” said director Michael Mayer. “The true affection he has for Neil’s work and life is palpable in every aspect of his tremendous performance. I will miss him terribly, of course, but will always treasure our time together, and very much look forward to the next show we do.”
Swenson has been one of Broadway’s go-to leading men since his breakthrough performance in 2009’s Hair, and he has since starred on the New York stage in Priscilla, Queen of the Desert, Little Miss Sunshine, Waitress and Assassins, among many other shows.
In addition to Swenson, the cast of A Beautiful Noise features a principal cast of Mark Jacoby as the aged Neil Diamond, Robyn Hurder and Shirine Babb.
The musical includes a score of Diamond’s hits, a book by Anthony McCarten, direction by Mayer, and choreography by Steven Hoggett.
He’s pretty tremendous as Diamond. I didn’t see the show straight away, but absolutely loved it when I did. His exit of kind of short notice … but let’s see what happens.
SHORT TAKES — How about those snappy new graphics for NBC’s Today Show. Introduced a week ago, they certainly look more relevant and certainly more fun. They did the same for Nightly News a week ago. Per TVNewser:The network said the decision to unveil a new logo and graphics for Nightly was made as a way of appealing to younger viewers who primarily consume news using digital media. It’s safe to assume is true for Today, the youngest-skewing of the linear morning shows that boasts a robust digital presence. Here’s their whole story:
The Rolling Stones
The next Rolling Stones single, “Sweet Sounds of Heaven,” is tremendous. Mick hasn’t sounded this good in years and Lady Gaga is an added treat. Magnificent! Take a listen: https://www.youtube.com/watch?v=YEJd5xtbEPY …
Donnie Kehr
Donnie Kehr and Cori Gardner’s Rockers On Broadway (their 30th edition) is coming up on Monday, October 16 at SONY Hall.
Debbie Gibson
Joining honoree Melissa Etheridge will be KT Tunstall and Debbie Gibson, Simon Kirke, Dan Finnerty and Ty Taylor … Happy Bday Chuck Taylor!
NAMES IN THE NEWS –— Anthony Noto; Tom & Lisa Cuddy; Paul Lester; Ian Harrison; Magda Katz; Pete Townshend; Miko Blanco; Brad LeBeau; Mal Evans; Derek Taylor; Andrew Sandoval; Rick Rubin; Bill Adler; Cory Robbins; Manny Bella; Race Taylor; Scott Shannon; Buddy Blanch; Steve Walter; Benny Harrison; and BELLA!
Broadway
Theatre News: Here We Are, Some Like It Hot, A Beautiful Noise, All The Devils Are Here: How Shakespeare Invented The Villain and The Laramie Project
The curtain rose last tonight on the first performance of the final Stephen Sondheim musical. Here We Are, the new musical from David Ives and Sondheim, is on stage at The Shed’s Griffin Theater (545 W. 30th Street), with an Opening Night on Sunday, October 22, for 15 weeks only.
Directed by two-time Tony Award winner Joe Mantello, the cast of Here We Are will feature Francois Battiste, Tracie Bennett, Bobby Cannavale, Micaela Diamond, Amber Gray, Jin Ha, Rachel Bay Jones, Denis O’Hare, Steven Pasquale, David Hyde Pierce, and Jeremy Shamos. The understudies for Here We Are are Adante Carter, Lindsay Nicole Chambers, Bradley Dean, Mehry Eslaminia, Adam Harrington, and Bligh Voth.
Here We Are is inspired by two films, The Discreet Charm of the Bourgeoisie and The Exterminating Angel, by Luis Buñuel.
Here We Are will include choreography by Sam Pinkleton, set design and costume design by David Zinn, lighting design by Natasha Katz, sound design by Tom Gibbons, orchestrations by Jonathan Tunick, musical supervision and additional arrangements by Alexander Gemignani, hair & make-up design by Wigmaker Associates, and casting by The Telsey Office.
Tickets are on sale on TheShed.org.
For each performance, a limited number of $25 tickets will be available via a weekly lottery, which will open for entries on the TodayTix app each Sunday at 12:01 AM for the coming week’s performances and will close at 12:00 PM on the day before each performance. Winners will be notified by push notification and email between 1 – 4 PM on the day before their selected show, and will have 30 minutes to claim their tickets in the app. Entrants may request 1 or 2 tickets, and entry is free and open to all.
Via TodayTix’s mobile rush program, a limited number of $40 same-day rush tickets will be available for that day’s performance of Here We Are at 9:00 AM each day on a first-come, first-served basis. Users can download the app and “unlock” rush tickets by sharing the program on social media ahead of their desired performance day.
The most award-winning musical of the 2022-2023 season, Some Like It Hot, will play for 13 more weeks through Saturday, December 30, 2023, at Broadway’s Shubert Theatre (225 West 44th Street) before launching a national tour and West End production.
Awarded Best Musical by The Drama League, Drama Desk and Outer Critics Circle, Some Like It Hot received over 20+ major awards throughout the 2022-2023 season, including four Tony Awards for Best Lead Actor in a Musical (J. Harrison Ghee), Best Choreography (Casey Nicholaw), Best Orchestrations (Charlie Rosen & Bryan Carter) and Best Costumes in a Musical (Gregg Barnes). J. Harrison Ghee made history as the first non-binary performer to take home the Tony Award in their category.
A national tour will launch in September 2024 and a West End production will follow in 2025, produced by The Shubert Organization and Neil Meron in partnership with Ambassador Theatre Group.
At the time of the final performance, the production will have played the Shubert Theatre for over a year, for a total of 483 performances.
Will Swenson and the cast. Photo by Julieta Cervantes.
Will Swenson, who is electrifying audiences with his star turn in A Beautiful Noise, The Neil Diamond Musical, will play his final performance as ‘Neil Diamond – Then’ at the Broadhurst Theatre (235 West 44th Street) on Sunday, October 29. Casting for the role of ‘Neil Diamond – Then’ will be announced at a future date.
The unofficial commencement of “spooky season” takes place this Friday, September 29, when Tony Award® Nominee and Grammy Award® Winner Patrick Page returns to the New York stage in All The Devils Are Here: How Shakespeare Invented The Villain, a new work created and performed by Mr. Page, based on the villains of William Shakespeare. Directed by Simon Godwin, the solo show will play the DR2 Theatre (103 E 15th Street) beginning Friday, September 29, with an Opening Night set for Monday, October 16, for 14 weeks only.
Tickets are now available at allthedevilsplay.com, Telecharge or by visiting the DR2 Theatre box office (103 E 15th Street).
Julie White
Julie White and Brandon Uranowitz will join Ato Blankson-Wood in a staged benefit reading of The Laramie Project. Moises Kaufman and the Members of Tectonic Theatre Project’s The Laramie Project, will bedirected by Dustin Wills (Wolf Play, Wet Brain). The event, which will raise funds to support the work of The Trevor Project, will take place on Monday, October 16th at 7:00 PM at Peter Norton Symphony Space, and is being produced by District Productions. Additional casting is soon to be announced. For tickets and more information, visit https://www.symphonyspace.org/events/vp-the-laramie-project-a-benefit-staged-reading
Harmony, has been in rehearsals for 3 weeks and yesterday morning, they meet the press.
Barry Manilow
Barry Manilow
Barry Manilow
Barry Manilow, wrote the original music.
Bruce Sussman
Bruce Sussman, who wrote the book and lyrics
Warren Carlyle
Warren Carlyle
director/choreographer Warren Carlyle
Ken Davenport
and producer Ken Davenport started the show off to a harmonious roll. Harmony begins previews Wednesday, October 18, ahead of a Monday, November 13 official opening night.
Many of the cast are making their Broadway debuts with Harmony, including 5 of the 6 actors playing the Harmonists.
The Harmonists, along with Chip Zien finished out the morning with a performance of the song “Stars in the Night.”
Chip Zien
The production also stars performers Sierra Boggess and Julie Benko.
Sierra Boggess
Julie Benko
Tomorrow meet the men of Harmony
Events For October
Ken Fallin’s Broadway: Musical Director Ian Niederhoffer
New York Film Festival to Host Cinephile Game Night
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Broadway3 days agoBarry Manilow’s and Bruce Sussman’s Harmony Meets The Press
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Broadway2 days ago
Barry Manilow’s and Bruce Sussman’s Harmony Meets The Press Part 2
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Entertainment3 days ago
The Mayor of Times Square Interviews Billionaire John Catsimatidis on The Motivation Show Podcast
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Broadway2 days ago
Theatre News: Here We Are, Some Like It Hot, A Beautiful Noise, All The Devils Are Here: How Shakespeare Invented The Villain and The Laramie Project
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Food and Drink4 days ago
Ubah Hassan and Serafina Launch the Sizzling Hot Pizza of the Season
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Cabaret3 days ago
My View: Barrington Stage Co. on 42nd Street Oct. 30 For Its Gala at Green Room 42
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Off Broadway3 days ago
Meet Michel Wallerstein and Spencer Aste of Chasing Happy
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Celebrity4 days agoThe Glorious Corner
