Broadway Theater Review: How I Learned to Drive with Mary-Louise Parker and David Morse

David Morse and Mary-Louise Parker. Photo: Jeremy Daniel

How I Learned to Drive
By Paula Vogel
Directed by Mike Brokaw
Samuel J. Friedman Theatre
Through May 29 

By Lauren Yarger

25 years ago Mary-Louise Parker and David Morse created characters of a young woman coping with sexual abuse and the uncle who abuses her in Paula Vogels Pulitzer-Prize winning play, How I Learned to Drive. They reprise their roles in Manhattan Theatre Club’s Broadway presentation which yields several truths:

• the play is masterful and stands up over the years
• good actors of any age are exciting on stage
• nothing much in society has changed when it comes to issues of women being swept aside.

The play focuses on Li’l Bit (Parker) who is groomed over many years sexual abuse by her uncle Peck (Morse) to participate in the abuse and to wonder whether she has imagined most of it, or whether anything really was wrong with whatever really happened. Vogel Greek Choruses, Female (Johanna Day, who also was in the original cast a quarter of a century ago) Teenage (Alyssa May Gold) and Male (Chris Myers) with these actors playing multiple characters like young Li’l Bit, her mother, another abused child, etc. to tell the story through non-linear memories and present occurrences. 

The audience, hopefully more savvy nowadays about abuse and grooming (a term not even used when the play premiered at the Vineyard Off Broadway), doesn’t have much doubt that Li’l Bit indeed has been abused. The question to be answered is for how long. 

Family nicknames have been assigned in reference to body parts and gatherings around the kitchen table  -- titled “On Men, Sex, and Women”-- are peppered with sexually charged innuendos. Li’l Bit’s mother refuses to hear her little girl’s fears about being sent on a road trip alone with Uncle Peck. The family laughs off his disdain for his wife. His wife shrugs off her growing concerns that something is going on between her husband and his niece downstairs in his dark room. Her solution is to wait for Li’l Bit to go off to school so she can have her husband back. 

Many of Li’l Bit’s memories are of the driving lessons her uncle gave her. He’s always clear that when the lessons start shifting from cars to sexual activity he won’t do anything he doesn’t want her to do. He’ll stop drinking if she just spends time with him, too. Each promise puts the responsibility on his under-age niece, who begins to question if what they are doing is right. 

“Have I forced you to do anything?” Peck asks?

 “I guess not,” Li’l Bit answers.

 Peck, operating in his own reality, convinces himself that he has a future with his niece once she turns 18. Li’l turns to alcohol and flunks out of school, but starts to recognize her uncle’s obsession with her as unhealthy. 

Original Director Sam Gold ably directs the performances and transitions in time, crucial to the storytelling. Vogel’s genius decision to tell the story in fractured memories keeps an element of doubt creeping throughout the story – much like Li’l Bit has herself. The story plays out on Rachel Hauk’s wisely sparce set (chairs double as the car seats) with other design elements contributing to the mood Mark McCullough (lighting design), David Van Tieghem (original music and sound design).

The fact that this play is as fresh and topical today as it was 25 years ago is upsetting. The “boys will be boys” and “women really want it” mentality is a close as your morning newspaper. And why did Broadway wait 25 years to produce the work of a Pulitzer-Prize winning author? That answer is easy. Because she is a woman and women, especially those over 40, are pretty much ignored. Just call us Li’l Bit. 

How I Learned to Drive cruises along at 1:40 with no intermission. It is parked through May 29 at the Samuel J. Friedman Theatre, 261 W. 47th S., NYC. 

Additional credit:

Deborah Hecht (dialect coach)

FAMILY-FRIENDLY FACTORS:

-- This is a mature-theme play, Think PG 13

-- God's name taken in vain

-- Suggestive dialogue

-- Pedophilia

-- Sexual abuse

COVID PROTOCOLS:

Proof of vaccination and a valid ID will be required to enter the theatre. Masks must be worn at all times. For more specific information go to: manhattantheatreclub.com/protocols

Lehman Trilogy, Kimberly Akimbo, Harmony Lead Outer Critics Circle Award Nominations

 

The Lehman Trilogy, Harmony and Kimberly Akimbo lead nominations for the The Outer Critics Circle Awards honoring the 2021-2022 Broadway and Off-Broadway season. The Lehman Trilogy, a play, topped the nominations with nine. followed by the Off-Broadway musicals Harmony and Kimberly Akimbo which earned eight nods each. The most recognized Broadway musicals of the season are MJ the Musical and Paradise Square, with seven nominations each. Nominees for the annual John Gassner Award — for a new American play, preferably by a new playwright — are Erika Dickerson-Despenza for Cullud Wattah, Sanaz Toossi for English, Sylvia Khoury for Selling Kabul, Dave Harris for Tambo and Bones and Keenan Scott II for Thoughts of a Colored Man. Returning to an in-person ceremony this spring after the 2020 virtual honors, the Outer Critics Circle Award winners will be announced Monday, May 16, with a ceremony honoring the award recipients on Thursday, May 26 at the Bruno Walter Auditorium at the New York Public Library for the Performing Arts at Lincoln Center. Special Achievement Awards will be presented to How I Learned to Drive stars Johanna Day, David Morse, and Mary-Louise Parker, as well as Lackawanna Blues star Ruben Santiago-Hudson, to mark their outstanding returns to roles they originated two decades ago. Additionally, the Outer Critics Circle presents commendations to two groups whose contributions to the 2021-22 season were immeasurable: the Standbys, Understudies, and Swings, as well as the Covid-19 Safety Officers. "In the spring of 2020, we gathered on Zoom to determine that year's slate of Outer Critics Circle Awards recipients, not knowing when or if we'd ever have the chance to do it again,” said Outer Critics Circle President David Gordon. “We are very grateful to have been able to see more than 100 productions for this year's consideration, and even more appreciative of all the work that it took to bring live performance back to New York City safely. Every single person involved in the 2021-2022 theater season, from onstage and backstage to front of house, should be immensely proud of this accomplishment."

The 2021-2022 Outer Critics Circle Award Nominations

Outstanding New Broadway Musical MJ the Musical Mr. Saturday Night Mrs. Doubtfire Paradise Square Six Outstanding New Broadway Play Birthday Candles Clyde's Skeleton Crew The Lehman Trilogy The Minutes Outstanding New Off-Broadway Musical Black No More Harmony Intimate Apparel Kimberly Akimbo Little Girl Blue Outstanding New Off-Broadway Play Morning Sun On Sugarland Prayer for the French Republic Sanctuary City The Chinese Lady John Gassner Award (presented to a new American play, preferably by a new playwright) Cullud Wattah by Erika Dickerson-Despenza English by Sanaz Toossi Selling Kabul by Sylvia Khoury Tambo and Bones by Dave Harris Thoughts of a Colored Man by Keenan Scott II Outstanding Revival of a Musical (Broadway or Off-Broadway) Assassins Caroline, or Change Company The Music Man The Streets of New York Outstanding Revival of a Play (Broadway or Off-Broadway) for colored girls who have considered suicide/when the rainbow is enuf How I Learned to Drive Take Me Out A Touch of the Poet Trouble in Mind Outstanding Actor in a Musical Justin Cooley, Kimberly Akimbo Myles Frost, MJ the Musical Rob McClure, Mrs. Doubtfire Jaquel Spivey, A Strange Loop Chip Zien, Harmony Outstanding Actress in a Musical Kearstin Piper Brown, Intimate Apparel Victoria Clark, Kimberly Akimbo Sharon D Clarke, Caroline, or Change Carmen Cusack, Flying Over Sunset Joaquina Kalukango, Paradise Square Outstanding Featured Actor in a Musical Quentin Earl Darrington, MJ the Musical Matt Doyle, Company Steven Pasquale, Assassins A.J. Shively, Paradise Square Will Swenson, Assassins Outstanding Featured Actress in a Musical Shoshana Bean, Mr. Saturday Night Jenn Colella, Suffs Judy Kuhn, Assassins Patti LuPone, Company Bonnie Milligan, Kimberly Akimbo Outstanding Actor in a Play Patrick J. Adams, Take Me Out Simon Russell Beale, The Lehman Trilogy Adam Godley, The Lehman Trilogy Adrian Lester, The Lehman Trilogy Sam Rockwell, American Buffalo Outstanding Actress in a Play Betsy Aidem, Prayer for the French Republic Stephanie Berry, On Sugarland Edie Falco, Morning Sun LaChanze, Trouble in Mind Debra Messing, Birthday Candles Outstanding Featured Actor in a Play Chuck Cooper, Trouble in Mind Brandon J. Dirden, Skeleton Crew Jesse Tyler Ferguson, Take Me Out Michael Oberholtzer, Take Me Out Austin Pendleton, The Minutes Outstanding Featured Actress in a Play Chanté Adams, Skeleton Crew Uzo Aduba, Clyde's Francis Benhamou, Prayer for the French Republic Phylicia Rashad, Skeleton Crew Nancy Robinette, Prayer for the French Republic Outstanding Solo Performance Alex Edelman, Just For Us Jenn Murray, A Girl Is a Half-Formed Thing Arturo Luís Soria, Ni Mi Madre Kristina Wong, Kristina Wong, Sweatshop Overlord Outstanding Director of a Play Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf Scott Ellis, Take Me Out Sam Mendes, The Lehman Trilogy Ruben Santiago-Hudson, Skeleton Crew Anna D. Shapiro, The Minutes Outstanding Director of a Musical Warren Carlyle, Harmony Moisés Kaufman, Paradise Square Jessica Stone, Kimberly Akimbo Christopher Wheeldon, MJ the Musical Jerry Zaks, Mrs. Doubtfire Outstanding Choreography Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf Warren Carlyle, Harmony Warren Carlyle, The Music Man Bill T. Jones, Alex Sanchez, Garrett Coleman, and Jason Oremus, Paradise Square Christopher Wheeldon and Rich + Tone Talauega, MJ the Musical Outstanding Book of a Musical Billy Crystal, Lowell Ganz, and Babaloo Mandel, Mr. Saturday Night Karey Kirkpatrick and John O'Farrell, Mrs. Doubtfire David Lindsay-Abaire, Kimberly Akimbo Lynn Nottage, Intimate Apparel Bruce Sussman, Harmony Outstanding Score Jason Howland, Nathan Tysen, and Masi Asare, Paradise Square Wayne Kirkpatrick and Karey Kirkpatrick, Mrs. Doubtfire Barry Manilow and Bruce Sussman, Harmony Toby Marlow and Lucy Moss, Six Jeanine Tesori and David Lindsay-Abaire, Kimberly Akimbo Outstanding Orchestrations John Clancy, Kimberly Akimbo David Holcenberg and Jason Michael Webb, MJ the Musical Greg Jarrett, Assassins Jason Howland, Paradise Square Doug Walter, Harmony Outstanding Scenic Design (Play or Musical) Beowulf Boritt, Flying Over Sunset Es Devlin, The Lehman Trilogy Scott Pask, American Buffalo Adam Rigg, The Skin of Our Teeth David Zinn, The Minutes Outstanding Costume Design (Play or Musical) Jane Greenwood, Plaza Suite Santo Loquasto, The Music Man Gabriella Slade, Six Emilio Sosa, Trouble in Mind Catherine Zuber, Mrs. Doubtfire Outstanding Lighting Design (Play or Musical) Jon Clark, The Lehman Trilogy Natasha Katz, MJ the Musical Bradley King, Flying Over Sunset Brian MacDevitt, The Minutes Jen Schreiver, Lackawanna Blues Outstanding Sound Design (Play or Musical) Nick Powell and Dominic Bilkey, The Lehman Trilogy André Pluess, The Minutes Ben and Max Ringham, Blindness Dan Moses Schreier, Harmony Matt Stine, Assassins Outstanding Video/Projection Design (Play or Musical) 59 Productions and Benjamin Pearcy, Flying Over Sunset Stefania Bulbarella and Alex Basco Koch, Space Dogs Shawn Duan, Letters of Suresh Luke Halls, The Lehman Trilogy Jeff Sugg, Mr. Saturday Night Special Achievement Awards are presented to: Johanna Day, David Morse, Mary-Louise Parker, and Ruben Santiago-Hudson for reprising their outstanding performances in How I Learned to Drive and Lackawanna Blues two decades later. All had been eligible in previous seasons. Outer Critics Circle Commendations are presented to: · The Standbys, Understudies, and Swings of the theatrical community who step up to perform, often on hours' notice, to keep their shows running. · To the Covid Safety Supervisors, Managers, and Compliance Officers who put themselves in harm's way eight times a week to keep the curtains up.

Broadway Theater Review: Plaza Suite with Sarah Jessica Parker and Matthew Broderick

Matthew Broderick and Sarah Jessica Parker in Neil Simon's Plaza Suite (Photo by Joan Marcus)

UPDATE

SARAH JESSICA PARKER TESTS POSITIVE FOR COVID TOO. SHOW APRIL 7 IS CANCELLED. CHECK with the Box Iffice for further information on upcoming performances.

Plaza Suite

By Neil Simon

Directed by John Benjamin Hickey

Hudson Theatre

Through June 26, 2022

By Lauren Yarger

Sarah Jessica Parker and real-life husband Matthew Broderick are back together on a Broadway stage for the first time in more than 20 years when they starred in How to Succeed in Business Without Really Trying. Sign me up! I wasn't disappointed as the couple has a chance to display their comedic chops in Neil Simon's Plaza Suite getting a limited revival at the Hudson Theatre -- the first revival of the playwright's work since his death in 2018.

Parker and Broderick play three different couples who, during different times in 1968 and 1969, stay in suite 719 at New York's Plaza Hotel (John Lee Beatty's elegant, subtle-toned set design brings applause). Despite hearing complaints that Simon's script is dated, I found that most of the humor holds up and that except for some derogatory comments about women, some decades-old jokes are made funnier by the audience's informed knowledge. Funny is funny, after all, regardless of the time it is experienced -- Simon didn't achieve fame writing more then 30 plays and books for musicals and receive a Pulitzer for nothing -- and both Parker and Broderick don't disappoint either, under the direction of John Benjamin Hickey. 

Parker distinguishes herself as a solid comedic actress, delivering lines with expert timing and delighting with moments of hysterical physical comedy. The depths of feelings of a woman being betrayed by her husband, a woman longing for the love of her youth and a mother facing the reality that her daughter doesn't want to turn out like her all get full development as well.

Broderick, while somewhat more reserved, gets a few moments of physical comedy as well. His being attacked by birds while on a ledge outside the suite's window (thanks to superb lighting by Brian MacDevitt) has the audience roaring. He also transforms from a boring, stuffy character to a nerdy, silly guy with ease. But whereas Parker indwells the humorous characters and lines, Broderick, who incidentally, won his first Tony Award for creating the role of Eugene Jerome in Simon's Brighton Beach Memoirs, simply delivers his.

 

Adding some dimension to the action between the couples are additional actors playing visitors who stop by the suite:  In act one, Eric Wiegand and Danny Bolero play a bellhop and waiter, respectively, and Molly Ranson is the secretary having an affair with Broderick's character. Bolero returns as a waiter in act two and in the third act, Ranson is the couple's daughter, reluctant to go through with her wedding to Wiegand's character. A 20-minute intermission separates the first two acts and a brief pause follows the second act.

The play ultimately is a serious study of relationships and not all of them fall on the side of happy, despite Simon's comedic technique. Plaza Suite had been scheduled to open on Broadway in 2020 just days before Covid shut down all of Broadway. And now, just days after returning to open 2022, Broderick is out of the show until April 15 after testing positive for the virus. Understudy Michael McGrath is playing Broderick's roles.

If you are picking and choosing shows this year, add this one to your list, especially if you have a chance to see Parker and Broderick together.  The limited run is scheduled through June 26. Tickets and performance information at plazasuitebroadway.com.

Additional credits:

Jane Greenwood (costume design), Scott Lehrer (sound design),  Marc Shaiman (incidental music).

FAMILY-FRIENDLY FACTORS:

-- Derogatory terms about women

-- God's name taken in vain

-- Adultery

Theater COVID POLICY:

When you arrive at the Hudson Theatre, guests age 12 and older will need to provide proof that they are fully vaccinated with an FDA or WHO approved COVID-19 vaccine AND present a government-issued photo ID such as a driver’s license or passport (guests 12-18 may use a government-issued ID or school ID – no photo required), as well as wear a mask inside unless actively eating or drinking.

“Fully vaccinated” means on the date of the performance a guest is at least 14 days after their second dose of a two dose COVID-19 vaccine OR at least 14 days after their single dose of an approved single dose COVID-19 vaccine.

For international guests, TWO doses of any “mix and match” combination of an FDA or WHO approved COVID-19 vaccine are acceptable.

Guests under the age of 12 must be accompanied by a vaccinated adult and provide proof of one of the following:

• • Full vaccination; or
• • A negative COVID-19 PCR test performed by a medical provider within 72 hours of the performance start time. The test results must clearly show the date and time of the test; or
• • A negative COVID-19 rapid antigen test taken within 6 hours of the performance start time. The test results must clearly show the date and time of the test. Tests administered by a medical professional are preferred and will guarantee entry, though over-the-counter, app-base testing kits will be accepted if they clearly provide the date/time of the test results.

Broadway Theater Review: The Music Man with Hugh Jackman and Sutton Foster

Hugh Jackman, Sutton Foster and the cast of The Music Man. Photo by Julieta Cervantes.

The Music Man
Music and Lyrics by Meredith Willson
Directed by Jerry Zaks
Choreography by Warren Carlyle
Winter Garden Theatre

By Lauren Yarger
Broadway's revival of The Music Man starring Hugh Jackman and Sutton Foster is great fun with a capital "G"  and that rhymes with T and that stands for Theater! Live theater, that is, on stage greeted by a packed, enthusiastic audience who roars at the star's entrances and generally delights in this fun revival.

After several postponed openings and a number of closings due to Covid, Meredith Willson's  classic finally is playing to its sold-out audiences willing to pay out a lot of money to see what is one of the few highly anticipated shows of the season (tickets range from $99 to $550 and are hard to come by). They won't be disappointed.

Winner of the 1957 Tony Award for Best  Musical, the show about old-fashioned, small-town American values is a staple of high school and community theater groups. It wouldn't be my choice for a Broadway revival. But when you can pair the ever-popular Hugh Jackman and super talented Sutton Foster in the lead roles, that's money in the bank. Director Jerry Zaks has re-assembled his creative team from the very successful revival of Hello Dolly! starring Bette Midler and has drafted an impressive list of big stars playing minor roles to create an entertaining production giving some 21 other cast members their Broadway debuts with a vibrant, full orchestra directed by Patrick Vaccariello.

Jackman stars as "Professor" Harold Hill, a hustling, traveling salesman who bilks innocent townspeople out of money they have invested in their kids' music lessons and uniforms to form a never-to-materialize marching band. Hill doesn't read music, so he encourages his students to "think" the music, resulting in, well, nothing. Before the townspeople catch wise, he has bolted and left a long line of jilted piano instructors in his wake. Until, that is, he arrives in River City. IA (depicted in almost cartoon-quality by Set Designer Santo Loquasto, who also designs the rather bland early 20th century costumes).

There he meets Marian Paroo (Foster) a piano teacher and librarian. A dour woman who doesn't trust men, Marian sees through Hill and initially sides with Mayor Shinn (an always wonderful Jefferson Mays) and his School Board/Barbershop Quartet (Phillip Boykin, Nicholas Ward, Daniel Torres, and Eddie Korbich) who try to investigate Hill's music teaching credentials.

When Marian's mother (Marie Mullen) and her little brother, Winthrop (a winsome Benjamin Pajak), show her a good side to Hill, the librarian eventually falls for the con man's charms as well.

There are some subplots, but they don't draw away from the show's main goal of presenting a feel-good, big scale, old-time feeling musical. Escaping into a land of "feel good" is like a jab of a life-giving booster shot, preferable to the one required for entrance to the theater. The arrival of "The Wells Fargo Wagon" at the close of act one is the stuff musicals are made of and brings a burst of joy from the audience.

This revival is not an exact replica of the original production, but it doesn't stray far. Some songs have been moved around, or expanded for additional dance, for example. In addition, some lyrics that suggested unwanted advances toward women are acceptable -- like in "Shipoopi," led by the entertaining Shuler Hensley as Marcellus Washburn -- have been rewritten by Marc Shaiman and Scott Wittman (Hairspray) to make them less offensive in the current culture.

Apparently having women resemble hens in choreography and lyrics didn't raise any red flags for the mostly male creative team that decided what women would find offensive in this show, however. The depiction of women strutting like a circle of chicks and singing "Pick a little, talk a little, pick a little, talk a little, cheep cheep cheep, talk a lot, pick a little more" did not exactly warm my heart (choreography by Warren Carlyle who uses a lot of ballet and well executed prop throwing/catching throughout the show).

Foster is the show's high note. What a pleasure to see her on stage again. She gives an unusual depth to Marian and sings and dances with joy. I would have suggested a rewrite that would have made Winthrop her son. It would have cut the vast number of years between the siblings and given Marian even more motivation to distrust men if the boy's father had left.... "Till There Was You" was lovely (except for the rude audience member who sang along making it a duet....)

I have a few nitpicks. Jackman is rather removed from the experience. I expected a more layered, character with hints of his deceitful nature. Instead, he kind of walks through the role smiling most pleasantly. There is little chemistry between him and Foster and not a clear reveal for why their feelings toward each other change. But Jackman can do no wrong and the audience is delighted, so what do I know? I do know that the mayor and his wife (played by a delightful Jayne Houdyshell -- we wish there were more for her to say/do here with her extraordinary comedic talent) probably would not have produced a child of color, especially not in 1912 Iowa. Color-blind casting, while well intentioned, does not always work in every story.

Because we've got Covid trouble here in the city and can't smell the greasepaint through the wretched face-covering required at all NY theaters (and Music Man's 2:40 runtime with intermission is a long time to have to remain masked), at least with this fun revival, we can hear the roar of the crowd. And they do roar with delight here.  musicmanonbroadway.com.

Rounding out the cast are Remy Auberjonois as Charlie Cowell, Gino Cosculluela as Tommy Djilas, and Emma Crow as Zaneeta Shinn, Kayla Teruel as Amaryllis, Garrett Long as Ethel Toffelmier, Linda Mugleston as Alma Hix, Jessica Sheridan as Maud Dunlop, Rema Webb as Mrs. Squires, Lance Roberts as Constable Locke.

Also Nick Alvino, Jordan Beall, Ronnie S. Bowman Jr., Maria Briggs, Audrey Cardwell, JT Church, William Thomas Colin, Kammie Crum, Aydin Eyikan, Carlee Flanagan, Ethen Green-Younger, Emily Hoder, Curtis Holland, Eloise Kropp, Ethan Lafazan, Kayla LaVine, Andrew Minard, Sean Montgomery, Tanner Quirk, Daniel Patrick Russell, Ann Sanders, Sherisse Springer, Mitchell Tobin, Kathy Voytko, Branch Woodman, and Ryan Worsing in the ensemble.

Additional credits:
Natasha Katz (Lighting Design), Scott Lehrer (Sound Design), David Chase (Dance Arrangements) and Jonathan Tunick (Orchestrator)

Other information:

-- No late seating

-- Covid Information:

MASKS REQUIRED: All guests must wear a properly fitting mask over the nose and mouth in the theatre except when eating or drinking in designated areas.

•  VACCINATIONS REQUIRED FOR AGES 5+: Everyone ages 5 and older must be fully vaccinated with an FDA or WHO authorized vaccine. If it is less than 14 days after the last vaccine dose (excluding boosters), proof of a negative test is also required.
•  IF YOU CANNOT BE VACCINATED: Children under 5 and people with a medical condition or closely held religious belief that prevents vaccination may show proof of a negative test. Testing results must be provided by a qualified lab, administered by a heath care professional.
•  PHOTO ID REQUIRED: Guests ages 18 and older must present a valid government-issued photo ID. Guests under 18 may also show a non-photo government-issued or school ID. Children under 12 must be accompanied by an adult who meets the above requirements.
•  Guests who do not comply with these policies will be denied entry or asked to leave the theatre.

FAMILY-FRIENDLY FACTORS:

--No notes. Enjoy!

Cancellations of Shows and Updates Schedules Broadway/Off-Broadway

 

LAST UPDATES Updated Dec. 30 at 2:30 pm.

AINT TOO PROUD closing permanently Jan. 16. Performances resuming Dec. 28.

ALADDIN:

Cancelled through Dec. 28

AMERICAN UTOPIA

Cancelled Dec. 23 and 26

ASSASSINS

Cancelled performances for Dec. 22–23.

CAT ON A HOT TIN ROOF

in a new production by Ruth Stage has announced that the upcoming off-Broadway engagement, scheduled to begin on Jan. 14 at The Theater at St. Clements, has been postponed until Summer, 2022

Cirque du Soleil Twas the Night Before… at Madison Square Garden remainder of run has been cancelled.

COME FROM AWAY

Cancelled through Jan. 2

COMPANY

Cancelled Dec. 26

DEAR EVAN HANSEN:

will close from Dec. 20–26, with performances expected to resume Dec. 27.

FLYING OVER SUNSET

Cancelled through Dec. 27

HADESTOWN canceled through Dec. 28

HAMILTON:

performances cancelled through Dec. 26. The show is scheduled to resume performances Dec. 27 at 7 pm.

HARRY POTTER cancelled through Dec. 27

IRISH ARTS CENTER

Camille O’Sullivan: Where Are We Now? RUN is CANCELLED

IRISH REP:

Cancelling performances of The Streets Of New York through Dec. 26

IS THERE SEX IN THE CITY?

Cancelled run

JAGGED LITTLE PILL:

has closed permanently now, following Covid cancellations.

JERSEYBOYS

Cancelled throughvDrc. 26

LION KING cancelled through Dec. 29 matinee.

MJ: The Michael Jackson Musical cancelled through Dec. 28.

MOULIN ROUGE cancelled through Dec. 30 matinee

MRS. DOUBTFIRE cancelled through Dec. 21

MUSIC MAN

CANCELLED through Jan. 1

ROCKETTES

All shows cancelled.

SIX cancelled through Jan. 1

SKELETON CREW

Due to company members having tested positive for COVID-19, MTC has delayed the beginning of preview performances of the Broadway premiere of Dominique Morisseau's SKELETON CREW until Monday, Dec. 27. To accommodate this change of schedule, the opening night has been moved to Wednesday, Jan. 19 at 7 pm.

TO KILL A MOCKINGBIRD

Cancelled Dec. 26

THOUGHTS OF A COLORED MAN

Played final performance on Dec. 22. Covid issues were blamed for shutting down the production.

TINA cancelled through Dec. 26

TREVOR:

Due to COVID cases in the company, final two weeks of performances have been cancelled.

WAITRESS

WILL NOT RE-OPEN

MORE NEWS:

New York City Ballet has canceled all remaining performances of George Balanchine’s The Nutcracker through Jan. 2

THOUGHTS OF A COLORED MAN cancelled through Dec. 20. On Dec. 21, Playwright Keenan Scott stepped in to play one of the roles, script in hand, so the performance would not have to be cancelled because of cast members testing positive for Covid. He is expected to continue through next weekend.

The Public Theater has added new measures aimed to protect its performers, personnel, and audiences against the coronavirus. The Off-Broadway company will expand its policy requiring proof of vaccination to include a negative COVID-19 test within 24 hours of a show through January 30, 2022.

No performances are affected at this time. Programming at The Public currently includes a variety of cabaret and concert shows at Joe’s Pub. The Under the Radar festival, featuring a number of emerging talents and new works, begins Jan. 12.

Drinks will only be served in the lounges and must be consumed there (not at your seat) in all Shubert theaters.

Updated Covid Policies for Broadway Shows

 

Photo: Alexander Cy

Vaccination and Mask Policy for Broadway Shows in NYC through Feb. 28, 2022

The owners and operators of all 41 Broadway theatres in New York City will continue to require vaccinations for audience members, as well as performers, backstage crew, and theatre staff, for all performances through Feb. 28, 2022. The Broadway League also has initiated new provisions to welcome international visitors and children under 12 years old. Masks will continue to be required for audiences inside the theatre, except while actively eating or drinking in designated locations.

Under the updated policy, guests age 12 and older will need to be Fully Vaccinated with an FDA or WHO authorized vaccine AND present a government-issued photo ID such as a driver’s license or passport. (Guests 12-18 may use a government-issued ID or school ID - no photo required.) “Fully vaccinated” means on the date of the performance a guest is at least 14 days after their second dose of a two dose COVID-19 vaccine OR at least 14 days after their single dose of an approved single dose COVID-19 vaccine.

For international guests Two doses of any “mix and match” combination of an FDA or WHO approved COVID-19 vaccine are acceptable.

Guests under 12, when accompanied by a fully vaccinated adult may enter the theatre with ONE of the following:

• Proof of ONE dose (through February 28, 2022 only) of an FDA or WHO approved vaccine at least 14 days before the performance date OR

• A negative COVID-19 PCR test performed by a medical provider within 72 hours of the performance start time. The test results must clearly show the date and time of the test; OR

• A negative COVID-19 rapid antigen test taken within 6 hours of the performance start time. The test results must clearly show the date and time of the test.

The League still allows exemptions for medical and religious reasons. Venues may have their own protocols in place. Theatregoers may find more information on mask and vaccine policies at Broadway.org. For more information, visit your show’s official website or contact your point-of-purchase.

Broadway Theater Review: SIX

Abby Mueller (Jane Seymour), Samantha Pauly (Katherine Howard), Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Brittney Mack (Anna of Cleves) and Anna Uzele (Catherine Parr). Photo: Joan Marcus

SIX

By Toby Marlow and Lucy Moss

Directed by Lucy Moss and Jamie Armitage 

Choreography by Carrie-Anne Ingrouille

Brook Atkinson Theater

By Lauren Yarger

Laugh-out-loud jokes and loud, pounding music are not exactly what come to mind when pondering the plight of Henry VIII's six unfortunate wives, but you will find yourself laughing and bopping to the beat while enjoying SIX: The Musical,  Broadway's exciting version of the West End hit by Toby Marlow and Lucy Moss.

Directed by Moss and Jamie Armitage, these six women finally get their moment in the spotlight, both in the story and on stage. SIX was one of the tragedies of the pandemic, set to open on the night Broadway went dark back in March 2020. Now, back to tell their stories, the wives compete in a reality-TV mode to see who has the most tragic story from her time as one of the wives of Henry. They each have a song (all done beltingly or balladly beautifully) which explain the theme of their experiences: divorced, beheaded, died; divorced, beheaded, survived.

Here's a short history lesson for those of you who aren't up on the six wives of Henry VIII:

Catherine of Aragon (Adrianna Hicks) was Henry's first wife, but when she couldn't produce a male heir, Henry turned his eye to the bewitching Anne Boleyn (a very funny Andrea Macasaet). When the pope wouldn't grant him an annulment, he declared himself the head of the new Church of England, got rid of Catherine (divorced) and married Anne any way.  Unfortunately for Anne, she too only produced a girl (the future Queen Elizabeth I), so Henry got rid of her (beheaded) and married Jane Seymour (Abby Mueller -- I saw understudy Mallory Maedke). Henry got his desired son and male heir but lost Jane who suffered complications in childbirth (died). 

Next, Henry saw a portrait of Anne of Cleves (Brittney Mack) and summoned her to England to become wife number four. She didn't look all that fetching in person, however, so Henry decided he wanted out of the marriage (divorce), set her up in a nice palace and called her "sister" instead of wife. The king, who was SO good at making spousal-type decisions, decided a child bride would be a good idea and married Anne Boleyn's cousin, Katherine Howard (Samantha Pauly -- I saw understudy Courtney Mack). Plagued by gout, obesity and probably a host of other illnesses, Henry wasn't exactly in prime baby-making condition, but he still expected a spare male heir from young Katherine. She turned to some younger male friends to help seal the deal, but the plan backfired when she was caught cheating.  So long, Katherine (beheaded). Finally, Henry chose mature, pious Catherine Parr (Anna Uzele) for his sixth queen. About five years later, he died. She was the only one who survived. The cast also includes Keirsten Nicole Hodgens and Nicole Kyoung-Mi Lambert.

In such a tragic story, Marlow and Moss find lots of humor. And they manage to modernize women from the 16th century to create an exciting energizing show that appeals to young audience members (there were lots at the Brooks Atkinson the night I attended) with color-blind casting  for those wanting to see persons of color, rather than historically accurate portrayals on stage. Carrie-Anne Ingrouille's choreography is energetic and hasn't lost any of its oomph with alterations made with Covid safety in mind. Costumes by Gabreiella Slade are bright and brilliant; the set (Emma Bailey, design) is simple and houses the all-female band, the “Ladies in Waiting.” Tim Deiling's lighting design competes the set for the reality-show concert theme, which thankfully isn't overdone. 

The pop music is loud, percussion-driven and fun. I bought the soundtrack after seeing and loving the show in March of 2020 and it's a favorite (Catherine Parr's solo "I Don't Need Your Love" is the weakest, as though after pounding out so many great tunes, the songwriters just didn't have enough energy to come up with one more.) Most of the others are catchy and will have you humming them long after you leave the theater.

Getting the soundtrack in advance isn't a bad idea. The lyrics are quite clever and vital to the storytelling, but the sound on stage (Paul Gatehouse) doesn't always pick them up and if you don't know Henry's story or all the words to the songs, you could feel like you are missing something in this fast-paced 80 minutes with no intermission.  The score features orchestrations by Tom Curran with music supervision and vocal arrangements by Joe Beighton and US Music Supervision by Roberta Duchak.

SIX is currently on-stage at the Lyric Theatre in London’s West End and on a UK tour. The show will also launch the US National Tour with a return engagement in Chicago where the show will run at the CIBC Theatre in 2022.  

SIX plays at the Brooks Atkinson Theatre, 256 W 47th St, NYC. sixonbroadway.com

FAMILY-FRIENDLY FEATURES:

-- Mature themes

-- Some suggestive lyrics

COVID-19 SAFETY PROTOCOL INFORMATION

Please note the following vaccination and mask requirements for all attendees:

• MASKS REQUIRED: All guests must wear a properly fitting mask over the nose and mouth in the theatre
• VACCINATIONS REQUIRED: All guests must be fully vaccinated to enter the theatre and must present digital or physical proof at the door.
• Children under 12 and people with a medical condition or closely held religious belief that prevents vaccination may show proof of a negative COVID-19 test.
• PHOTO ID: Guests ages 18 and older must present a valid government-issued photo ID. Guests under 18 may also show a school photo ID. Guests under 12 must be accompanied by an adult who meets the above requirements.
• Guests who do not comply with these policies will be denied entry or asked to leave the theatre. The only exceptions are for guests who need reasonable accommodations due to a medical exception or a sincerely held religious belief. In these cases, guests must provide proof of ONE of the following instead of evidence of vaccination:
  • negative COVID-19 PCR test performed by a medical provider within 72 hours of the performance start time.  The test results must clearly show the date and time of the test.

  OR

  • negative COVID-19 rapid antigen test taken within 6 hours of the performance start time.  The test results must clearly show the date and time of the test.  This test may be performed by a medical professional or by using an over-the-counter testing kit.