My review of the Encores! production of Girl Crazy is up on the Post's website -- thank you, Interwebs.
A Gershwin musical in November is just what the doctor ordered. Following it up with Dreamgirls at the Apollo tonight is a musical-theater double whammy!
I'm not being coy in my subject line -- I'm just afraid to get spam comments if I post the full title of Sarah Ruhl's latest: In the Next Room or the vibrator play. I liked it a whole lot, the most of all the Ruhl works I've seen so far, in fact. And that cast! So awesome. It's the best Lincoln Center show in eons, and proves the company should step out of its comfort zone more often.
You've got to admire Alan Ayckbourn's fertile mind: He's written over 70 plays and even when they aren't great, they're at least competent. That's the case with his latest, My Wonderful Day, which he also directed. Luckily for us, we get to see the British cast, which includes the amazing Ayesha Antoine. Review thataway.
Wunderkind Tarell Alvin McCraney's The Brother/Sister Plays opened at the Public last night. I was underwhelmed by the poetry of it all, as you can see in my review.
It's baaaaaack! Stephen Flaherty, Lynn Ahrens and Terrence McNally's adaptation of E.L. Doctorow's novel Ragtime (got all that?) returns to Broadway 11 years after it first opened. Of course I'm there too.
Ann Marie Healy's new play, What Once We Felt, opens at the Duke on 42nd St. in an LCT3 production. Despite my positive bias -- I love dystopian science fiction -- I found it just meh. Review here.
The TACT company revives Sidney Howard's obscure 1932 comedy The Late Christopher Bean. Review in today's Post.
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