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He Says: Sondheim’s Assassins Shoots Simply and Right On Target



The In-Person Off-Broadway Experience: CSC’s Assassins

My Sondheim Week of Appreciation in NYC, Part 3.

Everybody’s got the right to be happy. Everybody’s got the right to their dreams.” Sounds about right, especially when sung by a band of characters who are contemplating murder. Well, not murder exactly, we are told. ‘Assassination’ is the more ‘prideful’ word they like or want to hold onto. It makes them feel more special, we are told. ‘Shocking’ might also have been the first word used, particularly when Stephen Sondheim’s infamous masterpiece, Assassins, presented itself for judgment at Playwrights Horizons Off-Broadway in 1990. It received mainly mixed and negative reviews, and then, fourteen years later, when it opened on Broadway, it received highly favorable notices, winning five Tony Awards, including Best Revival of a Musical. That’s quite the turn-around I must say. I would have loved to be in that first show, Off-Broadway audience, feeling the response ripple through the crowds as this show, one by one, jumped over all kinds of barriers and ideals for what musicals should be, or could be all about. That would have been an experience, hopefully as good as the one experienced the other week during its revival presentation once again Off-Broadway but this time around at the Classic Stage Company downtown. 

Brandon Uranowitz, Judy Kuhn and Steven Pasquale in Assassins at Classic Stage Company. Photo by Julieta Cervantes

Assassins is quite the macabre framework for a somehow absolutely delightful musical. I’m sure it’s not for everyone’s taste, but for this theatre junkie, especially during his Sondheim Week of Appreciation in NYC 2021, it is pure theatrical magic; hilarious, entertaining, and wildly intellectually fascinating, especially in this small electrifying revival currently taking aim under the watchful and artistic eye of director John Doyle (CSC’s Pacific OverturesThe Cradle Will Rock). The man is no newbie to Sondheim, finding simplicity and honesty, alongside artistic majesty inside each of his Broadway productions of Sweeney Todd and Company. Some say he keeps playing with the same deck of cards, but I beg to differ. I walked into that perfectly aligned space, designed simply and strongly by Doyle, ready and willing to watch him reload and fire something fantastic our way. And it wasn’t formulaic, but exact and forever interesting.

Katrina Yaukey, Eddie Cooper and Ethan Slater in Assassins at Classic Stage Company. Photo by Julieta Cervantes.

Delivering yet again another killer revival of a Sondheim classic, Doyle ushers this particular eclectic group of murders into and onto his painted American flag with a determined agenda of fun and carnival-like adventure. Decked out in fantastically fun costumes designed by Ann Hould-Ward (CSC’s Macbeth), this masterful ensemble assembles in a perfect sharp-shooting serenade style, shining a strong and clear light, courtesy of designers Jane Cox (Broadway’s King Lear) and Tess James (CSC’s The Cradle Will Rock), on each of these talented souls’ strength of voice and character.

The Proprietor, played beautifully by Eddie Cooper (CSC’s The Resistible Rise of Arturo Ul) leads us in and sets out the stance of this exploration. “Hey, fella, feel like you’re a failure?” “Feel misunderstood?  C’mere and kill a President.” It’s quite the intense idea set forth, with one after another of these wildly misguided characters stepping forward to receive their guns in a strange collective handout worthy of a graduation ceremony or religious communion. It draws us in, through utter cynicism and a discomfort that stems from America’s deep and violent fascination with these killing machines. The framework creates a chorus line of would-be assassins trying to lay claim on some sort of fame or acknowledgment, growing up from a frustration with the American ideal that has seemingly passed them by. They parade forward, telling us their tale, asking us to understand or at least see their destructive tendencies. It’s a strongly framed structure, filled to the brim, oddly enough, of great humor and introspection that delivers some of the best and most entertaining performances in town, shooting their strengths at the circle overhead. Even when they miss the bullseye, the intended target of this wisely crafted musical is solid, centered hit.

Tavi Gevinson and Judy Kuhn in Assassins at Classic Stage Company. Photo by Julieta Cervantes.

Leading a segment of the talent parade is Judy Kuhn (Broadway’s Fun Home) as the dim-witted failed assassin Sara Jane Moore, who shines ridiculously bright and funny throughout this 105 minute one act musical. Her performance is energetic and focused in a pathetic and eager to please manner, especially when she showeres us with her kooky charm in the wondrous “Gun Song“. Matched and paired with the equally odd-ball lady killer, Lynette “Squeaky” Fromme, a kooky passionate follower of Charles Manson, Tavi Gevinson (MCC’s Moscow x6) plays her to perfection never misfiring on an opportunity to bring something special and smart to every line. Becoming somewhat iconic when they clumsily attempt to assassinate President Ford in 1975, it turns out, in reality, they were not in it together, but Sondheim’s pairing of these two in John Weidman’s priceless book is as Colonel-Sanders spectacular as a fired-on bucket of fried chicken. John Hinckley, wisely played by the talented Adam Chanler-Berat (Broadway’s Amélie), is more widely known for his attempt to murder President Reagan in 1981. He gets a number of beautifully funny moments, but the one with the fascinating Squeaky, delivering and sparring with Gevinson in the deliciously engaging number, “Unworthy of Your Love” is a one of the many highlights of the show. The two attempt to compare obsessive love: Jodie Foster Vs Manson. And who’s to say who the crazier one is? Or the more talented actor? I just can’t.

Then there is Andy Grotelueschen (Broadway’s Tootsie) as the Santa Clause suit-wearing Samuel Byck, who states with a wild abandonment, “All I want for Christmas is my Constitutional right!” He drives like a maniac, never getting himself close to the act of hijacking a plane and flying it into the White House, in a failed attempt to kill President Nixon. But Grotelueschen does the complete opposite of failing here in his hilarious car ride scene to the airport.  He isn’t given a musical moment to really shine, but his monologue is high-wired memorable and utterly captivating.

Brad Giovanine, Rob Morrison, Will Swenson and Katrina Yaukey in Assassins at Classic Stage Company. Photo by Julieta Cervantes.

I want prize! You gimme prize!” This idea of wanting hangs over the heads of these outcasts, pushing them to act out, like Charles Guiteau, played most handsomely and hilariously by Will Swenson (Off-Broadway’s Jerry Springer: The Opera), known for shooting James Garfield at the Buffalo State Fair, His energy and song and dance number is pure electric fun, and Leon Czolgosz, as portrayed dynamically by Brandon Uranowitz (Encores! Off-Center’s Road Show), historically remembered for his assassination attempt on President McKinley in 1901, finds engagement and connection at every turn of the gun barrel. They believed in the boogus American Dream, yet found themselves thrashed down by that same ideal, frustrated, betrayed and angry. Wesley Taylor (Broadway Center Stage’s Tommy) as Guiseppe Zangara who failed in his assassination attempt of President Roosevelt in 1933, wanted that prize most intently, turning his frustration into rage once he discovered the unmentionable truth in that Dream. Each and everyone of these gifted actors find moments upon moments to delivery the goods with appeal and relish. 

Steven Pasquale in Assassins at Classic Stage Company. Photo by Julieta Cervantes.

But it all revolves around John Wilkes Booth, who wanted so desperately to be seen as a national hero, believing that “Everbody gets a shot” and that shot is the violent act of killing a President. Steven Pasquale (LCT’s Junk) embodies that man fully and gorgeously, gifting the stage with a powerful performance that rivels all that stood in those same shoes before. Standing tall, handsome, and strong, both vocally and physically, he easily leads these characters to their infamous end while shedding light on their situations and motives. Shooting sharp and on-target, Pasquale, reprising the role that he most beautifully performed in 2017 at NYCC Encores!, finds theatrical truth in the making of so many ungrounded promises to his trigger-happy gullible crew. Standing strong by his side, guitar in hand, the equally talented Ethan Slater (Broadway’s SpongeBob SquarePants), portrays both the Balladeer and the most captivating Lee Harvey Oswald around. “They say you killed a country, John / Because of bad reviews,” sings the Slater’s Balladeer, but this production of Assassins has nothing to worry about in that regard. The reviews are strong, and the promises made are not broken by the Classic Stage Company, who finds power once again in Sondheim and in the idea of telling these stories simply, pistol-perfect and delivering them right on target.

Ethan Slater, Tavi Gevinson, Katrina Yaukey, Judy Kuhn, Will Swenson, Brandon Uranowitz, Andy Grotelueschen, Whit K. Lee, Adam Chanler-Berat, Wesley Taylor, Brad Giovenine and Steven Pasquale in Assassins at Classic Stage Company. Photo by Julieta Cervantes.

For more from Ross click here

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


Theatre News: Teeth, Soft Power, Redwood, BOOP! The Betty Boop Musical and Pre-Existing Condition



Jenna Rose Husli, Wren Rivera, Alyse Alan Louis, Phoenix Best and Helen J Shen in Teeth (Photo: Chelcie Parry)

Teeth is coming back to New World Stages in the fall for an open-ended run. The transfer begins on October 31, Halloween night, as its official opening. While casting for the commercial remount is yet to be announced, the Playwrights Horizons cast featured Alyse Alan Louis, Steven Pasquale, Will Connolly, Jason Gotay, Jared Loftin, Courtney Bassett, Phoenix Best, Jenna Rose Husli, Lexi Rhoades, Wren Riveras and Helen J. Shen.

The off-Broadway cast album for Teeth, written by written by Pop! creator Anna K. Jacobs (book and music) and Pulitzer Prize-winning A Strange Loop creator Michael R. Jackson (book and lyrics), is now available to stream on all major music platforms. The physical CD will be released August 30. Teeth opened its off-Broadway world premiere at Playwrights Horizons in March with direction by Sarah Benson and choreography by Raja Feather Kelly.

Based on Mitchell Lichtenstein’s screenplay for the cult-classic 2007 horror comedy, Teeth is a tale of revenge and transformation that tears through a culture of shame and repressed desire one delightfully unhinged song at a time. The musical follows Dawn O’Keefe, an evangelical Christian teen struggling to be an exemplar of purity amongst her community of fellow Promise Keeper Girls. As Dawn’s desires become tested and twisted by the men in her life, she discovers a deadly secret not even she understands: when men violate her, her body bites back—literally.

I loved Jeanine Tesori and David Henry Hwang’s SoftPower when it appeared at The Public, now it’s coming to the Signature Theatre in Washington  D.C., newly revised production and directed by Signature Associate Artistic Director Ethan Heard. The show opens August 6 and runs until September 15. Could NYC be next? The cast will feature Steven Eng as DHH, Daniel May (Flower Drum Song) as Xue Xing, and Grace Yoo (Hadestown) as Hillary Clinton with Eymard Cabling (Miss Saigon national tour) as Randy Ray and others, Andrew Cristi (A Christmas Story) as Chief Justice and others, Jonny Lee Jr. as Bobby Bob and others, Quynh-My Luu as Waiter and others, Christopher Mueller as VEEP and others, Ashley D. Nguyen as Jīng and others, Chani Wereley as Betsy Ross and others, Nicholas Yenson as Holden Caulfield and others, and Sumié Yotsukura as Flight Attendant and others. Olivia Clavel-Davis, Brian Dauglash, Emily Song Tyler, and Joey Urgino are swings.

After the 2016 election, when a Chinese American playwright is attacked by an unknown assailant, he hallucinates a Golden Age musical comedy about a Chinese theater producer and Hillary Clinton falling in love. Hilarious and biting, this political satire dares to ask: Does American Democracy still work? And is it worth believing in?

An exhilarating ride through political absurdity with a faceoff between Chinese and American exceptionalism, Soft Power makes an electric debut in the nation’s capital.

Idina Menzel, will open at the Nederlander Theatre in Redwood. This new Broadway musical starts previews January 24,  with a February 13 opening. Written and directed by Tony Award nominee Tina Landau, Redwood features music by Kate Diaz and lyrics by Diaz and Landau. The show is conceived by Landau and Menzel, with additional contributions by Menzel. The musical premiered earlier this year at La Jolla Playhouse. “I made my Broadway debut at the Nederlander Theatre in Rent almost 30 years ago, so to be returning there with Redwood is very emotional for me as it feels like a real homecoming. It has been such a gift to collaborate with Tina and Kate on this show, and I’m so proud to bring it to Broadway” stated Menzel. Redwood follows Jesse (Menzel), a successful businesswoman, mother and wife who seems to have it all, but inside, her heart is broken. Finding herself at a turning point, Jesse leaves everyone and everything behind, gets in her car and drives. Thousands of miles later, she hits the majestic forests of Northern California, where a chance meeting and a leap of faith change her life forever.

BOOP! The Betty Boop Musical has found is set to open at Broadway’s Broadhurst Theatre on April 5, 2025. Tony Award®-winning director/choreographer Jerry Mitchell brings the Queen of the Animated Screen to the theater  with celebrated multiple Grammy® Award-winning composer David Foster, Tony Award®-nominated lyricist Susan Birkenhead and Tony Award®-winning book writer Bob Martin. This score is fabulous and we can’t wait to hear the rest of it.

Edie Falco Photo by Emilio Madrid

Today, producers O’Henry Productions, The Cohn Sisters, Jessica Chase, Taylor Williams, David Blum, Jesse Eisenberg and Charlie Kaufman announced that Pre-Existing Condition by Tony Award® nominee Marin Ireland will extend for two weeks through August 17 and will star Emmy Award® winner Edie Falco in the rotating role of “A” beginning on August 6

Pre-Existing Condition, directed by Maria Dizzia, is currently playing at the Connelly Theater (220 East 4th St.) in the intimate 60-seat Upstairs space. The play was originally set to close on August 3.

Pre-Existing Condition is a play exploring the challenges, shared community, and everyday indignities of learning to move forward after a life-altering, harmful relationship.

About the play, Ms. Falco said, “I am thrilled at the opportunity to be a part of something that moved me so much as a spectator. It involves an intimacy and vulnerability that I’ve sorely missed in the theater. I can’t wait to work with these people who I deeply respect so that hopefully more people can see and feel what I did when I saw the play.”

The role of “A” has rotated throughout the production and is currently played by Tony Award® winner Deirdre O’Connell (Dana H.). Tavi Gevinson (“American Horror Story”) will play the role from July 24-August 3 with Ms. Falco starting August 6-August 17. Previously, the role was played by Emmy Award® winner Tatiana Maslany (“Orphan Black”), Julia Chan (Uncle Vanya) and Tony Award® nominee Maria Dizzia (In the Next Room).

The cast also includes Sarah Steele (“The Good Fight”), Dael Orlandersmith (Pulitzer Prize Finalist, Yellowman), Greg Keller (Alliance); with Raquel Chavez (Uncle Vanya) and Gregory Connors (The Sign in Sidney Brustein’s Window), understudies.

Tony Award® nominee Anne Kauffman (Mary Jane) serves as Creative Consultant on the production. In addition to Ms. Kauffman, the creative team includes Louisa Thompson (A Simulacrum), Set Designer; Tony Award® nominee Enver Chakartash (Stereophonic), Costume Designer; Tony Award® nominee Isabella Byrd (Enemy of the People, Cabaret at the Kit Kat Club), Lighting Designer; Tony Award® nominee Palmer Hefferan (The Skin of Our Teeth), Sound Designer. Taylor Williams is Casting Director, Ashley-Rose Galligan is Production Stage Manager, Eric Nolan Mattingly is Assistant Stage Manager with Wagner Johnson Productions serving as General Management.  Associate Producer is Joe Meyer. David Manella at Loeb & Loeb LLP serves as Production Counsel.

For information on performance dates, ticketing lottery information please visit Tickets start at $49.

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Off Broadway

Coney Island Nursery Rhyme Is a New Play Still In Its Embronic State



In the press release and on their own site Coney Island Nursery Rhyme sounds so intriguing. This historical fiction set in Connecticut and New York in the 1930’s is based on a true story. They state; Follows the esteemed incubator-doctor, showman, and unofficial father of Neonatology, Martin A. Couney. In a time where eugenics-focused medical culture refused to employ incubator technology. Martin A. Couney took it upon himself to save premature babies in his own incubators at a sideshow at Coney Island where funds were used to hire nurses and essentially create an unofficial hospital. We focus on Beatrice Winthrop, a woman from the American gentry who seeks Couney’s assistance after giving birth prematurely.

This is what we are told, but what the play is about, is less about the doctor and more about Raymond Abbot (Zachary Speigel) a fool who has a secret to confess. His friend Beatrice Winthrop (Jessica Noboa) has had a premie and her mother Candace Lahey (Phyllis Lindy) thinks the child would be better off dead. The doctor in charge (Judge Boothby) doesn’t hold out much hope and wants to send the child to Chicago. In the meantime Lt. Peter Petrovick (Pete Marzilli), wants to capture the killer of Mrs. Winthrop husband who was shot dead by his friend.

Jessica Noboa

The play by Lubomir Rzepka spends the first hour teaching us nothing about eugenics, making us wonder why we are here. We are introduced to Martin A. Couney (Mike Timoney), but Mrs. Winthrop dismisses him, until Raymond Abbot steals the child, saving the child’s life.

Mike Timoney, Jessica Noboa, Phyllis Lindy

Rzepka also directed the piece, but this was a mistake, as the actors for the most part scream for two hours.

Mike Timoney, Zachary Speigel

So little is spent on “The Infantorium”, in which visitors paid 25 cents to view prematurely born babies displayed in incubators. Thanks to Couney, who was one of the first advocates for premature babies, and his Infantoriums have become widely accredited with saving the lives of over 6,500 premature babies in the 30’s. Couney is additionally recognised as one of the first pioneers of neonatological technology. Now that is interesting.

Coney Island Nursery Rhyme: 754 9th Ave 4th floor (word of warning NO elevator). Premiering for 8 select shows July 12 through July 20th as an Equity Approved Showcase at the NuBox Theatre.

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Ken Fallin's Broadway

Ken Fallin’s Broadway:​ Inspired By True Events A New Play by Ryan Spahn



Off-Broadway’s Out of the Box Theatrics is presenting Inspired By True Events, a new play by Ryan Spahn.

In the green room of a community theater in Rochester, the Uptown Players are getting ready to play to a full house after opening to rave reviews the night before. When their star actor arrives in a dangerously unhinged state, they must improvise on and off stage in ways they could not have imagined. By turns hilarious, harrowing, and horrifying, Inspired By True Events follows a tenacious group of show people who must determine at what cost the show must go on.

Inspired By True Events received development workshops with New York Stage & Film, Vineyard Theatre and EST.

Knud Adams is directing, and the cast will feature Lou Liberatore, Jack DiFalco, Mallory Portnoy, and Dana Scurlock. The play opens July 17 at 154 Christopher Street (formerly the New Ohio Theatre). The play was developed by Michael Urie.

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Saying Good Bye To Dr. Ruth



“I was left with a feeling that because I was not killed by the Nazis — because I survived — I had an obligation to make a dent in the world,” Dr. Westheimer stated.

Becoming Dr. Ruth was a compelling play that chronicled the remarkable journey of Karola Siegel, who was best known as Dr. Ruth Westheimer, the iconic sex therapist. Dr. Ruth’s escape from the Nazis as a child, her time as a sniper in Jerusalem, and her courageous pursuit of success in America as a single mother, Becoming Dr. Ruth was and is about a triumphant spirit. On July 12, 2024 Dr. Ruth passed on at her home in Manhattan. She was 96.

Sex sells and Ruth Westheimer, a child survivor of the Holocaust who was a sex therapist knew that. At a time when the world didn’t talk about sex Dr Ruth’s frankness led to a long-running radio and television call-in shows. She was the go-to for tips on the art and science of lovemaking.

The sexual revolution that began in the 60’s but the world was still repressed on subjects like erectile dysfunction, masturbation, fantasies and orgasms.

Dr. Ruth was not the typical radio and TV personality, She stood at 4-foot-7, she was bedecked in pearls, and had a recognizable German-inflected voice.

Dr. Westheimer was over 50 when she debuted in 1980 on New York’s WYNY with “Sexually Speaking.” The radio program started out in 15-minute segments and was later syndicated and extended to two hours to accommodate those who were curious. There was also “Good Sex With Dr. Ruth Westheimer,” She was a frequent guest on late-night talk shows.

After surviving the Nazis, she went to Israel, where she joined the Haganah paramilitary group fighting for Jewish statehood (and where, she said, she lost her virginity in a hayloft). After that to France and to New York. As Dr. Westheimer she taught university courses in human sexuality before a producer at WYNY, an NBC affiliate, booked her for quarter-hour segment, first broadcast on Sundays after midnight. Within a year, she was on prime time at 10 p.m. to 11 p.m.

She wasn’t the first on-air therapist, but the most remembered.

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Off Broadway

The Journals of Adam and Eve The World’s First Love Story Starring Hal Linden and Marilu Henner



photo by Paul Aphisit

“Some day we’ll look back on this and laugh.”

The Journals of Adam and Eve The World’s First Love Story starring Hal Linden and Marilu Henner is a master class in acting. Created by Emmy-winning comedy writer Ed Weinberger (The Mary Tyler Moore Show, Taxi, The Cosby Show), the show is very reminiscent of Mark Twain’s The Diaries of Adam and Eve. Ultimately an endearing love story, the  show records the couple’s initial ambivalence to growth within themselves and in love.

Done like a reading, the actors are in black street clothes. They refer to their scripts from adjoining music stands. There is water on small tables and a chair for each.

Hal Linden and Marilu Henner are very amusing and powerful storytellers. Linden’s journey as Adam, starts off with “Much to my amazement, I was born a full-grown man,” to “It wasn’t the Garden of Eden. Not by a long shot.” We meet and see a man who is flawed, childlike in full blown ego to a man content with the journey. It is truly funny to see Mr. Linden recall his favorite herb. “A few swallows of the bud and I soon found myself wolfing down handfuls of figs drenched in honey and sprinkled with crunchy chili peppers. It also made me giggle when I counted my fingers.”

Henner commands the stage squeezing every laugh out of goading Adam, flirting in a way that is subtle and innocent. When he tries to rule over her she states; “Well, it just so happens that this living thing that ‘moveth’ is not one of your birds, fishes, or any other animal you have dominion over. So maybe you and this God ought to have another little talk about who is whoest and what is whateth.”

As the mysteries of life and love are explored desire, discoveries, temptation, lust, being the world’s first parents, joys, sorrows, separation and contentment in their twilight years all are explained and shown in a way that makes you think.

This thought-provoking comedy’s makes you wonder did we ever really know the first couple, that in a strange way has influenced all of our lives?

Amy Anders Corcoran’s direction is simple, yet effective and you will leave the theatre more satisfied than Adama dn Eve after they bit that apple.

The Journals of Adam and Eve: The Sheen Center, Loreto Theater, 18 Bleecker Street, until July 28th

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