Major disappointment. As someone said, the fact that it is YOUR story is not enough to make it compelling. There’s too much reminiscing and painstaking attention to uninteresting detail here and not enough drama or theatricality. Only intermittently funny. Scope of victory lap being taken out of whack with quality.
This is exactly why we pay good money to have our very own TEWS (Theatre Early Warning System) in the garage. Because every now and then it tells you things you cannot afford to miss.
Like: One of the funniest men on earth is back. Back in the theater, that is.
Starting June 6, Douglas Carter Beane has a new play about his life in the theatre.
Location: Lincoln Center.
Yeah, I guess that’ll have to do if he can’t find a real venue…
“SHOWS FOR DAYS is playwright Douglas Carter Beane’s fond remembrance of his immersion into a life in the theater. The comedy is set in Reading, Pennsylvania in 1973, when 14-year old Car, the play’s narrator and the author’s alter-ego, is introduced to the world of theater through his local community theatre, the Prometheus Theatre, and its devoted cast and crew which is led by Irene, an indomitable force of nature whose life is dedicated to putting on productions she directs, designs and stars in.”
Miss this – and we might have to turn you over to ISIS. And bill you for travel expenses.
Lincoln Center – Newhouse Theater
Directed by Jerry Zaks
Patti LuPone (Irene)
Dales Soules( Sid)
Michael Urie (Car)
Remember that storm we warned you about? The one off the west coast of Ireland? Well here it comes.
DruidShakespeare: The History Plays, the epic combination of Shakespeare’s four Henry plays adapted by Mark O’Rowe and produced by Ireland’s one and only Druid Theatre Company, is heading toward the light. It was announced today that the show will make landfall in North America at this year’s Lincoln Center Festival on July 7-19. It will premiere first in Galway in May.
Directed by Garry Hynes, the production includes a blinding array of Irish acting talent including Clare Barrett, Derbhle Crotty, Gavin Drea, Bosco Hogan, Garrett Lombard, Karen McCartney, Charlotte McCurry, Aaron Monaghan, Marie Mullen, Rory Nolan, Aisling O’Sullivan, John Olohan, and Marty Rea.
Wow. That would be a dream team.
There’s no way you can miss this.
This will be Druid’s fourth visit to the festival after DruidSynge in 2006, The Silver Tassie in 2011 and DruidMurphy in 2012.
A rare miss for the mostly immaculate LCT3 track record at lovely Claire Tow Theater. Cliches and overly familiar down and out story lines we’ve seen 100 times before are recycled at high volume and pace that borders on caricature. Feels like a drama assignment; doesn’t ring true. Not new.
When first generation Pakistani-American academic Zarina writes a book that portrays the prophet Muhammed as all too human, a violent confrontation with her conservative father quickly follows. Akhtar has all the right ingredients and a top notch cast, even if some pieces in this puzzle resolve a little too cleanly.
Thru July 13 (sold out)
So you wanna see your name in lights, kid? Moss Hart’s rise in the theatre business was by no means all milk and honey. But this play telling his story is beautifully crafted narrative and pure entertainment. The ageless Tony Shalhoub, playing three roles, is a white hot stage presence.
Wildly over ambitious, under-executed drawing room saga covering 30 years in the life of an establishment, old school liberal dynasty holding forth from Georgetown colonial. While subject matter begs for close examination on epic scale, here relevant themes are named but never brought to authentic life. Central figure rings false.
The theatre of engagement and provocation lives. Norris does it again, firmly establishing himself as one of America’s top playwrights. Witty, clueless Jeff Goldblum is an Elliot Spitzer figure watching his life unravel, and an astonishing Laurie Metcalf his disbelieving wife. Explaining why to furious daughter is hard – and heartbreaking.
2 hours 15 minutes including intermission.
Skillful playwriting craft, but realistic environment coated with a thin film of sitcom tics & mannerisms. And over time, this wears. Artificial suspense manufactured from characters simply not speaking to each other. Story fails to focus on a question with sufficient consequences. Did kid do it? We don’t really care.