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Thursday, December 7, 2017

Broadway in 2017: box office records broken under the shadow of Trump by Alexis Soloski

Political themes inevitably emerged alongside star turns from Bette Midler and Kevin Kline but despite some promising new plays, disappointment lingered In 2017, Broadway broke record after …

SOURCE: The Guardian at 08:18AM[SHARE]

Monday, December 4, 2017

SpongeBob Squarepants: The Broadway Musical review " sugar-shock visual pleasure by Alexis Soloski

The Palace Theatre, New YorkAn eclectic selection of original songs, written by everyone from John Legend to Aerosmith, meshes awkwardly with vibrant production design in this entertaining y…

SOURCE: The Guardian at 10:24PM[SHARE]

Review: A Ruler Loses His Grip in a Speedy 'Winter's Tale' by Alexis Soloski

In this Public Theater Mobile Unit production, streamlining Shakespeare makes the plot turns and mood swings hard to comprehend.

SOURCE: The New York Times Subscription at 02:18PM[SHARE]

Sunday, December 3, 2017

Downtown Race Riot review: 70s drama is bloody, sexy and not precisely credible by Alexis Soloski

Pershing Square Signature CenterSeth Zvi Rosenfeld draws on a real and frightening event from the bicentennial year but his play feels like an early draft, stronger on sensation than insight…

SOURCE: The Guardian at 08:06PM[SHARE]

Thursday, November 30, 2017

Review: In 'Sleep,' a Wakeful Woman Faces Long, Surreal Nights by Alexis Soloski

The Ripe Time adaptation of Haruki Murakami's short story focuses on an unnamed housewife who finds exhilaration in sleeplessness

SOURCE: The New York Times Subscription at 03:04PM[SHARE]

Wednesday, November 29, 2017

Meteor Shower review " patchy laughter in Amy Schumer's Broadway debut by Alexis Soloski

The comedian stars alongside Keegan-Michael Key and Laura Benanti in Steve Martin's mixed bag of sitcom humor and raunchy jokesBooth Theatre, New YorkSteve Martin's lump of sight gags, one-l…

SOURCE: The Guardian at 10:54PM[SHARE]

Monday, November 27, 2017

Critic's Notebook: Why Plays About Sexual Assault Are Too Murky for Our Own Good by Alexis Soloski

He-said, she-said ambiguities are certainly dramatic. But they also ignore hard truths that we need to hear right now.

SOURCE: The New York Times Subscription at 11:33AM[SHARE]

Sunday, November 26, 2017

Review: Four Women, Four Lifetimes, One Camera in '20th Century Blues' by Alexis Soloski

Susan Miller's sweet but softhearted play finds old friends challenged when the photographer among them wants to display group images taken over 40 years.

SOURCE: The New York Times Subscription at 11:04PM[SHARE]

Friday, November 24, 2017

Critic's Notebook: Fool Me Twice? Yes, Please by Alexis Soloski

A pair of magic shows set in unusual sites have even jaded New York audiences happily losing their minds.

SOURCE: The New York Times Subscription at 08:18AM[SHARE]

Monday, November 20, 2017

Review: In 'Diaspora,' an Ancient Siege for the Snapchat Age by Alexis Soloski

Toggling between the years 2017 and 73, this play about American Jews on a trip to Israel seems confused about what it is trying to say.

SOURCE: The New York Times Subscription at 01:36PM[SHARE]

Review: A 'Peter Pan' That Never Takes Flight by Alexis Soloski

The Bedlam production of the J.M. Barrie classic is both too childish to tell the story properly and too adult to access its wonder.

SOURCE: The New York Times Subscription at 12:18PM[SHARE]

Sunday, November 19, 2017

Review: In This 'Pride and Prejudice,' Love Is a Zero-Sum Game by Alexis Soloski

An unconventional Primary Stages adaptation of the Jane Austen novel features gags, dance breaks and other cynical silliness.

SOURCE: The New York Times Subscription at 10:18PM[SHARE]

Thursday, November 9, 2017

Glengarry Glen Ross " review by Alexis Soloski

Gerald Schoenfeld theatre, New York"Always be closing." That maxim of salesmanship seems positively caustic when projected on to the curtain during the Broadway revival of David Mamet's Glen…

SOURCE: The Guardian at 10:04PM[SHARE]

Wednesday, November 8, 2017

Uma Thurman, Ready to Be Tested by Alexis Soloski

Hollywood's "contempt and dismissiveness" toward women has led her to Broadway. In "The Parisian Woman," she'll be onstage for every minute of every scene.

SOURCE: The New York Times Subscription at 05:12AM[SHARE]

Tuesday, November 7, 2017

Review: Welcome to Prom. Try Not to Die. by Alexis Soloski

James Presson's overstuffed play aims to meld outsize teenage passions with Jacobean tragedy.

SOURCE: The New York Times Subscription at 02:24PM[SHARE]

Review: The Big Apple Circus Is Ripe for Another Bite by Alexis Soloski

A year after filing for bankruptcy, a beloved cultural institution returns to Lincoln Center.

SOURCE: The New York Times Subscription at 10:18AM[SHARE]

Friday, November 3, 2017

Review: In 'State of Siege,' Resistance to Plague in an Overcoat by Alexis Soloski

This production of a minor play by Camus, about a bullied populace whose civil liberties are curbed, hits some Trumpian notes, but not too hard.

SOURCE: The New York Times Subscription at 03:06PM[SHARE]

Thursday, November 2, 2017

Junk review " Ayad Akhtar's fast-paced financial thriller falls short by Alexis Soloski

The Pulitzer prize winner's stock market morality play zips by with speed but suffers from confused characterization and frustrating ambiguity Vivian Beaumont Theater, New YorkAyad Akhtar, w…

SOURCE: The Guardian at 11:18PM[SHARE]

Wednesday, November 1, 2017

For This Playwright, Africa With Laughter, Not Tears by Alexis Soloski

In works like "School Girls; or, the African Mean Girls Play," Jocelyn Bioh aims to tell stories that buck expectation and defy stereotype.

SOURCE: The New York Times Subscription at 11:24AM[SHARE]

Thursday, October 26, 2017

M. Butterfly review " Clive Owen impresses in Julie Taymor's revision by Alexis Soloski

A revival of David Henry Hwang's audaciously imaginative play lands on Broadway but with the delicate poise between illusion and truth unbalancedCort Theatre, New YorkMost theater is a seduc…

SOURCE: The Guardian at 11:06PM[SHARE]

Wednesday, October 25, 2017

Review: A Timely Take on 'Oedipus' by Way of South Central Los Angeles by Alexis Soloski

Luis Alfaro's "Oedipus El Rey" puts sex and violence front and center as it considers the fate of a young man shaped by the prison system.

SOURCE: The New York Times Subscription at 12:48PM[SHARE]

Tuesday, October 17, 2017

Review: Warming Up to the Frozen North in 'Alaxsxa / Alaska' by Alexis Soloski

Ping Chong creates a deceptively warm multimedia production about a very cold place.

SOURCE: The New York Times Subscription at 03:24PM[SHARE]

Monday, October 16, 2017

Critic's Notebook: Making Shakespeare Their Own, Serious and Silly by Alexis Soloski

Two productions that draw on the Bard: an "As You Like It" with echoes of the refugee crisis and a goofy musical based on "Measure for Measure." In this case, fun wins.

SOURCE: The New York Times Subscription at 12:04PM[SHARE]

Friday, October 6, 2017

A Eugene O'Neill Marathon: 1 Actor, 1 Script, 5 Hours by Alexis Soloski

David Greenspan has been rehearsing his solo take on the epic "Strange Interlude" for four years. Now it's show time.

SOURCE: The New York Times Subscription at 12:24PM[SHARE]

Friday, September 29, 2017

Review: In 'Clockwork Orange,' the Future is Dark and Very Fit by Alexis Soloski

This adaptation of Anthony Burgess's word-drunk fantasy is notable less for its violent themes than for its often-shirtless cast.

SOURCE: The New York Times Subscription at 08:18AM[SHARE]

Monday, September 25, 2017

Review: Beckett's Absurdist House of Horrors, in Hell's Kitchen by Alexis Soloski

"Beckett in the City: The Women Speak" powerfully articulates a theme of powerlessness in four short plays staged at a secret location near the Irish Arts Center.

SOURCE: The New York Times Subscription at 10:24PM[SHARE]

Friday, September 22, 2017