All stories by Alexis Soloski on BroadwayStars

Thursday, January 17, 2019

‘Intelligence’ Review: A Diplomatic Mission That’s All Improv, No Comedy by Alexis Soloski

Negotiators try to role-play their way out of global conflict in this gripping play by Helen Banner. It doesn’t always make sense, but can still thrill.

Linked From The New York Times Subscription at 10:54PM
Tuesday, January 8, 2019

Choir Boy review – Tarell Alvin McCraney hits high notes on Broadway by Alexis Soloski

Samuel J Friedman TheatreThe Oscar-winning Moonlight writer transfers his musical to a bigger venue and, while there are missteps, the songs bring the house down “Tighten up.” That’s w…

Linked From The Guardian at 09:48PM
Thursday, January 3, 2019

The Clintons, Tootsie and Beetlejuice: what to expect on Broadway in 2019 by Alexis Soloski

The stage will see a host of star names over the next 12 months as well as yet more movie musicals and a much-anticipated drama about the ClintonsIf Broadway strides into 2019 without last y…

Linked From The Guardian at 05:24AM
Monday, December 31, 2018

At Prototype, a Posthumous Play Revived as Chamber Opera by Alexis Soloski

Sarah Kane’s “4:48 Psychosis” is presented in a way the composer, Philip Venables, hopes will make listeners appreciate joy and love.

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Sunday, December 30, 2018

In ‘Grey Rock,’ a Palestinian Playwright Tackles the Ordinary by Alexis Soloski

Occupation is an ancillary concern in Amir Nizar Zuabi’s new play, in which an everyday Palestinian man decides to build a moon rocket in a shed.

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Thursday, December 27, 2018

7 Plays and Musicals to Go to in N.Y.C. This Weekend by Alexis Soloski

Our guide to plays and musicals coming to New York stages — and a few last-chance picks of shows that are about to close.

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Friday, December 14, 2018

Review: Writer of ‘Nassim’ Makes a New Best Friend at Every Show by Alexis Soloski

Nassim Soleimanpour, who remains silent throughout, invites a different actor to join him onstage at each performance and star in his unrehearsed play.

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Thursday, December 13, 2018

To Kill a Mockingbird review – Aaron Sorkin spellbinds Broadway by Alexis Soloski

Sam S Shubert Theatre, New YorkThe Oscar-winning writer’s controversial adaptation of the Harper Lee novel hits the stage with a splash and a strong central performance from Jeff DanielsAa…

Linked From The Guardian at 10:12PM
Wednesday, December 12, 2018

Clueless: The Musical review – teen movie stage show is a lazy retread by Alexis Soloski

Pershing Square Signature CenterAmy Heckerling has brought her 1995 comedy classic to New York with lively choreography but a disappointing lack of charmThe best thing about Clueless: The Mu…

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Tony Kushner: 'Trump has a sinkhole instead of a soul' by Alexis Soloski

He has spent his life dramatising America’s angels and demons. As his civil rights musical returns to Britain, the playwright reveals all about revamping West Side Story for Spielberg – …

Linked From The Guardian at 01:12AM
Tuesday, December 4, 2018

The Cher Show review – Broadway musical is a mixed bag of pop excess by Alexis Soloski

Neil Simon Theatre, New YorkA jukebox ode to the megastar contains some dazzling numbers but suffers from some clumsy storytellingAt The Cher Show, there are three Chers onstage and lots mor…

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Thursday, November 29, 2018

Review: ‘The Good Swimmer’ Stays Out of the Deep End by Alexis Soloski

Heidi Rodewald and Donna Di Novelli’s song cycle at the Brooklyn Academy of Music is beautifully delivered but frustratingly opaque.

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Wednesday, November 28, 2018

How to Be a Stage Mother (No, Not That Kind) by Alexis Soloski

Stockard Channing, Glenn Close, Rosemary Harris and Mercedes Ruehl on loving fiercely and listening closely in four current plays.

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Sunday, November 25, 2018

Review: In ‘All Is Calm,’ Thrilling Song in the Trenches by Alexis Soloski

This World War I-set musical recounts a brief ceasefire when enlisted men on both sides buried their dead and exchanged small gifts.

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Thursday, November 15, 2018

Critic’s Pick: Review: At the Big Apple Circus, Discs Fly and So Do People by Alexis Soloski

The Big Apple Circus returns with oversize airborne cranberries, a steamy aerial ballet and a prancing pig.

Linked From The New York Times Subscription at 12:18PM
Thursday, November 8, 2018

King Kong review – Broadway kills the beast in monstrously bad musical by Alexis Soloski

Broadway Theatre, New YorkDespite the spectacle of a 2,400lb puppet, a shambolic production doesn’t know what to do with him and any magic quickly evaporatesKing Kong arrives fashionably l…

Linked From The Guardian at 10:54PM
Monday, November 5, 2018

American Son review – excruciatingly relevant race drama by Alexis Soloski

The Booth Theater, New YorkKerry Washington plays a mother whose son goes missing in a tough, timely play about the dangers of being young and black in AmericaWhen the lights rise on Christo…

Linked From The Guardian at 07:18AM

Hadestown: how Anaïs Mitchell's lo-fi hit became a sensational musical by Alexis Soloski

It started as a show that toured Vermont in a school bus. Now it’s hitting the National Theatre and is bound for Broadway. We track the long, winding road of HadestownHadestown, the Orphic…

Linked From The Guardian at 07:18AM
Thursday, November 1, 2018

Review: Like Life, ‘Catch as Catch Can’ Throws Curveballs by Alexis Soloski

Mia Chung’s play, presented at the New Ohio Theater by Page 73, lays bare the theatricality of family life with actors who cross genders and ages.

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Tuesday, October 30, 2018

Review: In ‘When We Went Electronic,’ Hell Is Available in Spandex by Alexis Soloski

Caitlin Saylor Stephens’s play, directed by Meghan Finn for the Tank, is like a fun house ride that’s just a pile of distorting mirrors.

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Friday, October 26, 2018

Review: ‘Renascence’ Introduces a Thoroughly Modern Millay by Alexis Soloski

The music soars but the creative process is flattened in a biomusical devoted to the poet’s early adulthood.

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Thursday, October 25, 2018

The Waverly Gallery review – Elaine May dazzles in devastating dementia drama by Alexis Soloski

The John Golden Theatre, New YorkKenneth Lonergan’s personal play about a gallery owner losing her memory is a beautifully acted, quietly crushing tragedyThe Waverly Gallery, now revived o…

Linked From The Guardian at 10:42PM

It’s Alive! Well, the Puppeteers Are by Alexis Soloski

Manual Cinema’s “Frankenstein” is a film-theater hybrid that fuses Mary Shelley’s novel with her biography, emphasizing themes of desire, birth and loss.

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Monday, October 22, 2018

Exit Interview: Lauren Ambrose Says Goodbye to Eliza but Hopes to Keep the Boots by Alexis Soloski

Sharing stories of a professionally thrilling Broadway role in “My Fair Lady” that coincided with personal loss.

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Thursday, October 18, 2018

The Lifespan of a Fact review – Daniel Radcliffe's patchy return to Broadway by Alexis Soloski

Studio 54, New YorkAn intriguing premise and a confident assemblage of ideas fall apart onstage despite a trio of strong performancesFact: Lifespan of a Fact is one of the three best new pla…

Linked From The Guardian at 10:48PM

15 Plays and Musicals to Go to in N.Y.C. This Weekend by Alexis Soloski

Previews, openings and some last-chance picks.

Linked From The New York Times Subscription at 05:48PM
Tuesday, October 16, 2018

Review: O, for a Muse of Fire, or a Comptroller, to Save ‘Popcorn Falls’ by Alexis Soloski

Armed with money for a theater (which doesn’t exist) to save his town, a mayor tries his hand at playwriting in this two-actor, multicharacter comedy.

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Encounters: Mercedes Ruehl Takes Weekly Strolls With Her Acting Students by Alexis Soloski

The actress, who stars in the Broadway revival of “Torch Song,” is an acting teacher and mentor.

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She’s 17, Sardonic and Ready to Sing in ‘Beetlejuice’ by Alexis Soloski

Condescend at your own risk to Sophia Anne Caruso, the go-to girl for adventurous stage roles. “Even from a young age,” she says, “I had very finicky taste.”

Linked From The New York Times Subscription at 02:18PM

Critic’s Pick: Review: ‘Rags Parkland’ Plays the Interplanetary Homesick Blues by Alexis Soloski

A folk concert provides the scaffolding for this stealthily moving sci-fi musical.

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Tom Stoppard, Always Tackling ‘The Hard Problem’ by Alexis Soloski

Can a drama about the nature of consciousness be emotional, too? For its latest production, he’s tinkered with the script to firmly answer yes.

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