Off Broadway
Roundabout’s The Wanderers Does Exactly That, But Fails to Find its Way to the Core
The loopholes in life are piled up and plastered across the back walls of the Roundabout Theatre Company‘s production of The Wanderers, the new play that just opened at the Laura Pels Theatre off-Broadway. The pages and books that decorate the stage tell two stories that work their way around one another, flipping back and forth until they finally find the connective tissue that loosely binds. It’s a compelling construct that tries its best to hold Anna Ziegler’s ambitious story together but somehow muddles itself in its own high-mindedness and poor formulation. Lines and ideas are put forth by Ziegler (The Last Match), through the distinctive, yet somewhat stereotypical characters, registering interesting pathways regarding culture, religion, and unhappiness, that could be at the core, but are often left in the dust. Sidelined, and discarded, for more showier movie star explorations.
Lucy Freyer, Dave Klasko Photo by Joan Marcus.
The layers are complex and dynamic but as directed by Barry Edelstein (RTC’s All My Sons), the design fails to capture the intent, leaving the play to push through entrances and exits that slow down the wonder it is so desperately trying to script, chapter to chapter. The frustrated modern wife, Sophie, played by Sarah Cooper (“Summering“) delivers the first page, standing in the symbolic arena, designed haphazardly by Marion Williams (PlayMakers’ Into the Woods). Her character sets up a conflict with highlighted determination, that ultimately takes the backseat, and in the end, has little to do with the main outcome, other than pointing out the obvious. Those poetic openings do their job, I guess, pulling us into the pages of the conflict, I just wish the play understood what it really needed to say about these two couples, separated by time and culture, and why a movie star presence is even needed.
The Wanderersis an overly literal play that doesn’t quite know its way around the tabled subject, planting the formulation in an abstract that isn’t quite dramatic enough for the flattened structure. The play wants us to be drawn into the conflicts of these two very different heterosexual couples standing at the brink of conflict and change, and the impulse is there. One of them is a young newlywed Orthodox Jewish couple, Esther and Schmuli, finding their way toward one another even as we watch them grow apart, and the other, Abe and Sophie, is a modern, somewhat non-religious married couple with kids, both highly educated, intellectual, and writers of books, finding their literal world more complex then either seem prepared for. The projected chapter titles, designed by Joey Moro (Broadway’s Skeleton Crew), do little to draw us in, even though they make us believe there will be a point, and the lighting, designed by Kenneth Posner (Broadway’s Beetlejuice) needed a bit more pooling subtlety rather than making all these characters forever walk in to deliver their lines before casually strolling off, well lit and obvious, to alter their pretty costuming by David Israel Reynoso (Punchdrunk’s Sleep No More) for no apparent reason other than the play’s requirements.
The interlocking connection, beyond the fact that both marriages are clearly walking towards trouble almost from the get-go, doesn’t present itself until about halfway through, even though the clues are pretty obviously teased out. But the reasoning for this overlap never seems powerful or deep enough to warrant their existence together. The stories, in their own particular orbit, do offer intrigue, especially in the alteration (and some could say enlightenment) of Esther, played delicately by Lucy Freyer (“Paint“), who desires connection to the modern world, to the concerned amazement of her more traditional new husband, played exquisitely by Dave Klasko (SITP’s King Lear). Their work together is deliciously enticing, especially Klasko in a role that most modern non-Orthodox Jewish audience members would not want to align with, yet he finds humanity and tenderness in his confused collision with his own belief systems. Their story has a soul, and although it’s one we have seen before, particularly well told in the Netflix series “Unorthodox“, the dual emotional complexities register in a way that the rest of the play fails to.
The modern story, even with its twists and turns, stays solidly in territory that feels less tenderly determined. The husband, who is the more accomplished writer, played with determination by Eddie Kaye Thomas (MCC’s The Submission), unpacks ideas poetically, as he becomes entranced by an email and instant messaging exchange with a beautiful movie star, Julia Cheever, played solidly by Katie Holmes (Broadway’s All My Sons). It’s a compelling narrative, although poorly orchestrated on that wide bright stage. Holmes’ movie star character floats in and out, engaging in chatter that is overblown and unreasonable. In a strange way, her sad regular person living an irregular life feels like titillation rather than an inherent need. Yet it gives the playwright opportunities to throw out complexities about fame and creativity that are fascinating, yet somehow unrelatable. And Cooper’s annoyed wife role, unfortunately, standing on the sidelines folding laundry, only finds her space later on, but still manages to never find its weight that the initial poetic monologue hinted at in the very beginning.
“Wake up, Abe,” she says, placing ideas in between the lines that haven’t presented themselves quite yet. Ziegler’s writing feels smart, poetic, and recklessly brave, while not really discovering the ropes that bind these two stories together tightly. The play seems to be asking the overly simplified question, “Can we be happy with what we have while we have it?” but fails, in a way, to answer it completely or deeply, beyond the simplistic, disconnected tones of two stories that don’t have a lot to say to one another. And why the movie star? The correspondence has some fleshy bits, but never finds deeper meaning to its internal unhappiness or desire. The two connect, yet it doesn’t feel real, and it certainly isn’t honest in more ways than one. Maybe that is the point, yet I never cared about the two, and the twist (or is it a manipulation?) that comes later, made it feel reasonable that I didn’t. Which I don’t think served the overall cloudy theme. The stories themselves made me curious, but the charm of the play, Abe’s words, and his egotism faded quickly, and as the novel approach came sputtering to an end, The Wanderers remained, looking for the core, but not exactly finding its way.
Events
Jason Robert Brown, Chuck Cooper, Janet Dacal, Sutton Foster, Lillias White and More To Perform at TheaterWorksUSA Spring Gala
TheaterWorksUSA, currently presenting the hit family show Dog Man The Musical at New World Stages, will host its annual Spring Gala on Monday, April 24 (cocktails begin at 6 PM) at The Current at Chelsea Piers.
100% of the net proceeds from the event will support our mission to create exceptional, transformative theatrical experiences that are accessible to young and family audiences in diverse communities across New York City and North America.
This year TWUSA will honor Lisa Chanel (TWUSA Board Chair 2019-2022), Andréa Burns (Award-winning Broadway actress & educator), Peter Flynn (TWUSA alumnus and award-winning director, writer, and educator), and Holly McGhee (Founder and Creator of Pippin Properties, New York Times best selling author). The event will feature appearances by some of Broadway’s biggest stars, including Jason Robert Brown, Chuck Cooper, Janet Dacal, Kevin Del Aguila, Sutton Foster, Lillias White and more.
On behalf of TheaterWorksUSA’s Board of Directors, we are thrilled to celebrate the people who have generously supported our mission, making it possible for us to bring high-quality theater to young audiences of all backgrounds throughout the country. We look forward to recognizing Lisa, Andréa, Peter, and Holly publicly at this very special event. – Tracy A. Stein, Board Chair
It’s a privilege to honor these individuals for playing such an important role in the work we do. Their vision, creativity, and ongoing commitment to our mission is truly something to celebrate. They are very much a part of our TheaterworksUSA family.- Barbara Pasternack, Artistic Director
TheaterWorksUSA (Barbara Pasternack, Artistic Director; Michael Harrington, Executive Director) has led the Theater for Young and Family Audiences movement in New York City and across North America for over half a century. At TWUSA, we believe that access to art—and theater, in particular—is vital for our youth. Since 1961, the 501(c)3 not-for-profit has captured the imaginations of 100 million new and veteran theatergoers with an award-winning repertoire of over 140 original plays and musicals. Acclaimed alumni include Kristen Anderson-Lopez and Robert Lopez (Disney’s Frozen), Daphne Rubin-Vega (Rent), Jerry Zaks (The Music Man), Benj Pasek and Justin Paul (Dear Evan Hansen), Miguel Cervantes (Hamilton), Kathleen Chalfant (Angels in America), and Chuck Cooper (Tony award-winning actor, The Life). WWW.TWUSA.ORG
Broadway
Theatre News: Bob Fosse’s Dancin’, Parade, The Shubert Organization Donates to ECF and Millennials Are Killing Musicals,
Tovah Feldshuh, Huma Abedin, Hillary Clinton at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Secretary Hillary Rodham Clinton at Bob Fosse’s DANCIN’. Photo by Bruce Glikas
The curtain was raised last night at The Music Box Theatre (239 West 45th Street) as Bob Fosse’s Dancin’, the American showbusiness legend’s landmark musical tribute to the artform that defined his life, opened on Broadway 45 years after the original smash-hit production premiered. The production’s direction and musical staging is by Tony Award-winner Wayne Cilento, one of the stars of the original Broadway production, and is produced in cooperation with Nicole Fosse.
Wayne Cilento and Bernadette Peters. Photo by Emilio Madrid
Chita Rivera at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
In attendance on opening night were Secretary Hillary Rodham Clinton, Nicole Fosse; original A Chorus Line cast members Baayork Lee, Donna McKechnie, Priscilla Lopez; Chita Rivera; Erich Bergen; Jordan E. Cooper; Tovah Feldshuh; J. Harrison Ghee; Jane Krakowski; Adam Lambert; Ralph Macchio; Abby Lee Miller; Audra McDonald; Casey Nicholaw; Justin Peck; Tiler Peck; Bernadette Peters; Tonya Pinkins; Tony Roberts; David Rockwell; Krysta Rodriguez; Christopher Sieber; Jennifer Simard; Will Swenson and more.
A CHORUS LINE original cast members Priscilla Lopez,Donna McKechnie Baayork Lee photo by Bruce Glikas
Priscilla Lopez at Opening Night of DANCIN. Photo by Emilio Madrid
Dancin’is Fosse’s full-throated, full-bodied celebration of dancers and dancing. Utterly reimagined for the 21st century, this Dancin’brims with a level of warmth, emotion, and color seldom seen in modern interpretations of Fosse’s influential style and features some of his most inventive and rarely performed choreography. With New York’s hottest cast performing wall-to-wall dance, including Fosse classics such as “Mr. Bojangles,” and “Sing Sing Sing.” Dancin’ delivers the quintessential Broadway experience for Fosse fans and first-timers alike. You think you’ve seen dancing, but you’ve never seen Dancin’like this.
Cast of Bob Fosse’s DANCIN’ Opening Night photo by Emilio Madrid
Curtain call of Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
The cast, consisting of some of the best of Broadway’s elite dancers includes Ioana Alfonso (Hometown: Miami via DR/PR), Yeman Brown (Hometown: Tallahassee, FL), Peter John Chursin (Hometown: San Francisco, CA), Dylis Croman (Hometown: Dallas, TX), Jovan Dansberry (Hometown: St. Louis, MO), Karli Dinardo (Hometown: Melbourne, Australia), Tony d’Alelio (Hometown: Roanoke, VA), Aydin Eyikan (Hometown: Fairfield, CT), Pedro Garza (Hometown: Abilene, Texas), Jacob Guzman (Hometown: Brockton, MA), Manuel Herrera (Hometown: Charlotte, NC), Afra Hines (Hometown: Miami, FL), Gabriel Hyman (Hometown: Chesapeake, VA), Kolton Krouse (Hometown: Gilbert, Arizona), Mattie Love(Hometown: Layton, UT), Krystal Mackie (Hometown: Brooklyn, NY), Yani Marin (Hometown: Miami, FL), Nando Morland (Hometown: Colombia / Denver, CO), Khori Michelle Petinaud (Hometown: Centreville, VA), Ida Saki (Hometown: Dallas, TX), Ron Todorowski (Hometown: Pittsburgh, PA), and Neka Zang (Hometown: Scottsdale, AZ).
Adam Lambert at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Abby Lee Miller at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Bob Fosse’s Dancin’ is produced by Joey Parnes, Hunter Arnold, Kayla Greenspan, Rodger Hess & Michael Seago, Jay Alix & Una Jackman, Bob Boyett, The Shubert Organization, James L. Nederlander, Tim Forbes, Carson Gleberman, Park West Productions, McCabe Ventures, Fran Kirmser & Jodi Kaplan, Greg Young, The Fabulous Invalid, Julie Hess & Tommy Hess, and The Old Globe in cooperation with Nicole Fosse.
Wayne Cilento at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Nicole Fosse at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Bob Fosse’s Dancin’ originally opened on Broadway at the Broadhurst Theatre on March 27, 1978 and later transferred to the Ambassador Theatre. The production ran for 1,774 performances. Dancin’ was nominated for seven Tony Awards, including Best Musical, and brought Fosse his seventh Tony Award for Best Choreography.
Nicole Fosse and Wayne Cilento photo by Emilio Madrid
This production of Bob Fosse’s Dancin’ premiered at San Diego’s Old Globe Theatre from April 19, 2022, to June 5, 2022.
Interscope Records is proud to announce the cast album for the “brilliant” (Variety) 2023 revival of Parade — Alfred Uhry and Jason Robert Brown’s award-winning musical, which opened on March 16 at New York’s Bernard B. Jacobs Theatre to rave reviews. Parade (2023 Broadway Cast Recording) features the vocal talents of Tony, Grammy, and Emmy Award® winner Ben Platt and Micaela Diamond and conducted by composer Jason Robert Brown, and will be released on Thursday, March 23. Pre-order it HERE.
Leo and Lucille Frank (Ben Platt and Micaela Diamond) are a newlywed Jewish couple struggling to make a life in the old red hills of Georgia. When Leo is accused of an unspeakable crime, it propels them into an unimaginable test of faith, humanity, justice, and devotion. Riveting and gloriously hopeful, Parade reminds us that to love, we must truly see one another.
The current revival of Parade, which is directed by two-time Tony Award nominee Michael Arden, has received overwhelming acclaim since its debut. Entertainment Weekly called it “a phenomenal production that feels more poignant and powerful than ever,” while Variety said, “Ben Platt stuns in a powerful Broadway production of an essential American musical.”
Platt (Dear Evan Hansen, The Book of Mormon) and Diamond’s performances (The Cher Show) were singled out for praise. Deadline gushed “Ben Platt has no trouble reminding us just why he’s become one of Broadway’s most beloved performers. His vocals here are stunning in a pitch-perfect performance,” while The Guardian raved that “Micaela Diamond’s singing voice is luminous.” “Micaela Diamond, as Lucille Frank, breaks your heart with no affectation whatsoever, and a voice directly wired to her emotions,” wrote The New York Times in its Critic’s Pick review. Tickets are available now at www.paradebroadway.com.
Parade (2023 Broadway Cast Recording) showcases their voices, as well as other members of the all-star cast, while capturing the essence of a musical that, Entertainment Weekly writes, “is the most gorgeous production on Broadway.” Viewers will get a special preview of the musical on March 23 when Platt and Diamond perform its signature ballad “This Is Not Over Yet” on NBC’s Today accompanied by Jason Robert Brown on piano.
Out of the Box Theatrics (Elizabeth Flemming, Founder and Producing Artistic Director; Ethan Paulini, Associate Artistic Director) is pleased to announce that Grammy and Emmy Award winner Kristolyn Lloyd (Dear Evan Hansen) will star in the Off-Broadway developmental production of Millennials Are Killing Musicals, written by Drama League songwriting contest and NAMT Challenge winner Nico Juber. The production, to be directed by Ciara Renée(Waitress, Frozen), will play a limited engagement from May 7-28, 2023, at Theatre 71 at the Church of the Blessed Sacrament (152 West 71st Street). Opening night is May 15. Tickets are on sale now at Ovation Tix.
Bob Wankel Photo by Natalie Powers
The Entertainment Community Fund, formerly The Actors Fund, the national human services organization supporting the needs of those working in the entertainment and performing arts industry, today announced that The Shubert Organization has made a $5 million gift to the Fund to support expansion of The Samuel J. Friedman Health Center for the Performing Arts in New York City, the Actors Fund Home in Englewood, New Jersey, and affordable housing and a community arts center at The Hollywood Arts Collective in Los Angeles.
The $5 million gift will be used to expand doctors’ offices and services at The Samuel J. Friedman Health Center for the Performing Arts in New York City, with additional support to the Actors Fund Home in Englewood, NJ. Funds will also be used to bolster the construction and programs of The Hollywood Arts Collective, a new affordable housing and community arts center located in the heart of Hollywood where the Central Gardens will be named in honor of The Shubert Organization.
The Shubert Organization has long supported the Fund’s ongoing work to help people in performing arts and entertainment. In 2017, The Shubert Organization unveiled The Shubert Pavilion: an expansion to the Actors Fund Home, an assisted living and skilled nursing care facility located in Englewood, New Jersey. The Shubert Pavilion houses a 25-bed short-stay rehabilitation center available to the general public and intended for people who are recovering from illness or surgery, as well as 14 assisted living beds. The facility also includes a fully equipped gym for physical, occupational and speech therapies.
Robert E. Wankel, Chairman and CEO of The Shubert Organization, also serves as Chair of The Actors Fund Housing Development Corporation Board of Directors, a role in which he supports and guides the development of affordable housing for the performing arts and entertainment community to improve lives, create jobs, foster economic development and revitalize communities. In 2022, Wankel received the Entertainment Community Fund’s Medal of Honor, an award presented at the Fund’s annual gala that recognizes individuals who have had a profound impact on the entertainment community.
“The Entertainment Community Fund is honored by the long-standing commitment of The Shubert Organization and the countless ways it supports our work to provide a safety net for people in the performing arts community,” said Fund Board Chair Brian Stokes Mitchell. “A special thank you to Bob Wankel for his continued leadership not only at The Shubert Organization, but also with the Actors Fund Housing Development Corporation Board of Directors.”
“The Shubert Organization is proud to strengthen the Entertainment Community Fund’s ability to provide affordable housing, medical care, emergency financial assistance and so much more to those in our industry,” said Robert E. Wankel. “We look forward to all that’s to come in our ongoing collaborations, from Englewood to Times Square to Hollywood and beyond.”
My guest absolutely loved Asi Wind’s Inner Circle, but if you have been to Speakeasy Magick at The McKittrick Hotel, much of what is here will seem repetitive, though still amazing.
Asi is good looking, charming, amusing and displays a wonderful sleight of hand. The Gym at the Judson has been designed and lit by Adam Blumenthal to make the space warm and inviting. The space only has 100 seats, so you are up-close and personal.
Before the show starts, audience members are asked to write their names and initials on a blank card with red or black sharpies. These are the cards he uses as his deck, so that each night the show is personalized.
Wind is a wonderful storyteller and loves his craft. He is infectious about his passion and so brings his audience in. Each trick is celebrated as he builds his momentum. You will have seen most of these tricks before if you have been to The McKittrick, but Asi makes it fun and exciting.
My guest could not wait to bring her grandson and thoroughly enjoyed the show. That alone made the performance special.
Asi Wind’s Inner Circle: Gym at Judson, 243 Thompson Street, until May 28th.
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