NEW YORK â Why would a charismatic young playwright, with a critical hit playing to 800 people a night in Midtown, debut a new work, in which he also stars, at a 72-seat theatrical incubator so far off Broadway itâs in Brooklyn? And why would he do so under a pseudonym that sounds like the name of a bot?
NEW YORK â Hereâs an idea for a Broadway musical: An awkward boy with an absent father and an overwhelmed mother gets involved with friends in a dubious scheme that spins out of control and almost undoes him.
NEW YORK â Annie Golden, beloved by musical theater nerds for her work in shows including âAssassinsâ and âThe Full Monty,â keeps her classic rock belt under wraps in a woebegone vibe, as if Lillian Gish ate Tina Turner. When she lets it out, itâs doubly exciting for the fact of her voice and the surprise of it.
NEW YORK â Itâs a sure sign that youâve entered the playwriting pantheon when your plots, characters and overall outlook are still being rubbed like relics and scavenged for scraps decades after your death.
NEW YORK â All your favorite Greeks are heading somewhere in âHadestown,â the sumptuous, hypnotic and somewhat hyperactive musical that opened Wednesday night after its own twisty 13-year road to Broadway.
I spent many late nights in the 1980s holed up in hotel rooms on the road, often in the company of a much older woman wearing a negligee and a Tony medallion.
NEW YORK â Surely you know that telltale moment, at the start of many great Golden Age musicals, when the curtain rustles, the lights glow warmer and the violins start churning out the schmaltz. Whatever sadness the story has in store, the sound from the pit tells you all will be well.
NEW YORK â âWe are becoming like all the other nations,â the queen says in a moment of despair. âWe have unhappy prisoners, indifferent citizens and the young people refuse to reproduce.â
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