Everyday Rapture is Broadway quasi-diva Sherie Rene Scott's quasi-autobiography, part fact, part fiction. Problematic with such a show is whether to accept its oddities as peculiar but true or to question them as fabrications usurping the privilege of facts. The show's solution is to postulate a heroine called "Sherie Rene," who both is and isn't Scott. To which I say that Everyday Rapture both is and isn't a show.
As an aging New York writer who may have been a one-hit wonder, Linda Lavin runs roughshod over co- star Sarah Paulson, playing the talented protege who quickly surpasses her mentor in Donald Margulies's Collected Stories. The middling 1996 drama is being revived on Broadway by the Manhattan Theatre Club in a production that won't change anyone's opinion of it.
Kathleen Marshall would direct and Foster, 35, would play the Patti LuPone role, according to two people briefed on the talks.
The semi-factual drama by Lucy Prebble will appeal to those familiar with the case and knowledgeable of the most esoteric aspects of accounting. The rest of us, lacking total comprehension, …
Promises, Promises, the Burt Bacharach–Hal David–Neil Simon musical, wallowed in a 1960s sensibility, largely inherited from its source, the Billy Wilder movie, The Apartment. The new Broadway revival, starring Sean Hayes and Kristin Chenoweth, demonstrates that while some shows are destined to become tantalizing time capsules, others will merely seem dated in retrospect.
Fans of Green Day may well find bliss in American Idiot, the latest rock concert to pose as a Broadway show. There are six of them, if you're counting. With scorching arrangements by Tom Kitt, the songs sneer and whine just as a rock-n-roll concert ought to. Still, 90 minutes of barbaric yawp does not an opera, punk or otherwise, make.
The reductions in this stripped-down version, Broadway's latest import from London's Menier Chocolate Factory, seem especially stark as it follows closely a 2005 revival that matched the opu…
Diane Paulus's production is now spreading its counterculture message of love, lust and LSD in London's West End theater district. And fun it is, too.
Admittedly no fan of rock 'n' roll, I assume that only the most monomaniacal rocker could find the pseudo-musical Million Dollar Quartet anything more than a jam session periodically interrupted by desperate attempts to whip up some drama.
Unlike in most current musicals, the songs really shine: Melody, too, has risen from the dead.
A new revue of songs by the hit- making team behind "Cabaret" and "Chicago" may come to Broadway next season.
It's not every day an interviewer gets to offer pop psychoanalysis to a musical star. And there probably aren't many interviewees who enjoy it as much as Sierra Boggess.
Ken Ludwig's quarter-century old Lend Me a Tenor is revived on Broadway with a deft cast including Tony Shalhoub, Anthony LaPaglia, and Jan Maxwell, under the direction of that expert comedian Stanley Tucci. And as before, it entertains.
Finally a truly intelligent play on Broadway: American writer John Logan's "Red," in a production from London's Donmar Warehouse, with two superb English actors, Alfred Molina and Eddie Redm…
The producers of two new hit musicals, "The Scottsboro Boys" and "Yank!" say they'd rather gamble on Broadway than move into an off-Broadway theater.