All stories by Victor Gluck, Editor-In-Chief on BroadwayStars

Monday, March 20, 2017

Anything Goes by Victor Gluck, Editor-In-Chief

The score which has been drawn from the four previous New York productions of Anything Goes plays like a Cole Porter greatest hits parade and almost all of the songs are among his most popul…

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The Moors by Victor Gluck, Editor-In-Chief

Although the play demonstrates a surface knowledge of the genre and the period, it wants to have it both ways: it takes place in 1840 in a desolate mansion on the Yorkshire Moors but the cha…

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Wednesday, March 15, 2017

If I Forget by Victor Gluck, Editor-In-Chief

Steven Levenson’s "If I Forget" is the kind of family drama that doesn’t get written much anymore: one that has something to say other than just depicting a dysfunctional situation. Not …

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Tuesday, March 14, 2017

The Glass Menagerie by Victor Gluck, Editor-In-Chief

Sam Gold’s revival of "The Glass Menagerie," the fifth major production of the play in New York since 2005, is such a one. He has decided to remove all of the historical relevance as well …

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Wednesday, March 8, 2017

The Skin of Our Teeth by Victor Gluck, Editor-In-Chief

Thornton Wilder’s "The Skin of Our Teeth" with its benign belief in the resilience of the human condition is unlike any other American play you are likely to see. Both heavily influenced b…

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Monday, March 6, 2017

Messenger #1, A New Ancient Greek Tragedy by Victor Gluck, Editor-In-Chief

In addition to the swiftness of the storytelling and the use of contemporary language, Jackson uses a sort of upstairs-downstairs approach. Aside from what is happening to the royals, we als…

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Kid Victory by Victor Gluck, Editor-In-Chief

It would be difficult to imagine anything darker than the content of the second musical collaboration by John Kander and Greg Pierce having its New York premiere at the Vineyard Theatre. Pos…

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Saturday, March 4, 2017

Louisiana Purchase by Victor Gluck, Editor-In-Chief

Based on a story by lyricist/bookwriter/producer B.G. DeSylva (“Good News,” “The Best Things in Life Are Free,” “The Varsity Drag”), this musical satire sends unworldly, teetotal…

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Wednesday, March 1, 2017

Dear World by Victor Gluck, Editor-In-Chief

Having played such indomitable women as Mama Rose and Maria Callas, Daly slips into the role of the Madwoman of Chaillot which fits her like a glove with her crisp, authoritative delivery. A…

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Sunday, February 26, 2017

Leah, the Forsaken by Victor Gluck, Editor-In-Chief

Nevertheless, while the play is startlingly not politically correct, the acting is of a high caliber. In the title role, Regina Gibson (who appeared last season in the rediscovered operetta …

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Friday, February 24, 2017

Evening at the Talk House by Victor Gluck, Editor-In-Chief

However, as the title implies it is also a very verbose, long-winded affair giving an excellent cast made up of such veterans as Matthew Broderick, John Epperson (a.ka.a Lypsinka), Jill Eike…

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Thursday, February 23, 2017

Man from Nebraska by Victor Gluck, Editor-In-Chief

Birney seems to have cornered the market on sensitive, ordinary guys and his performance is similar to his awarding-winning “Erik” in The Humans. However, here he is extremely sympatheti…

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Monday, February 20, 2017

Life According to Saki by Victor Gluck, Editor-In-Chief

The evening is narrated by Saki (played by an appealing and suave David Paisley) talking to us from the trenches of France, in 1916. His five soldiers (played by Phoebe Frances Brown, Ellen …

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Wednesday, February 15, 2017

The Object Lesson by Victor Gluck, Editor-In-Chief

Illusionist/actor Geoff Sobelle’s show is a combination of happening, art installation, and a meditation on the role objects have in our lives. Using audience participation, objects both h…

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Berlin to Broadway with Kurt Weill: A Musical Voyage by Victor Gluck, Editor-In-Chief

One of the remarkable things about the theater songs of Kurt Weill is that like the later songs of Stephen Sondheim they are all really little one act plays which give the performers a great…

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Jonah and Otto by Victor Gluck, Editor-In-Chief

While the play is at times Pinteresque, it is talky in a way Pinter never is, explaining everything over and over, covering the same ground again and again. Nothing much happens other than t…

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Saturday, February 11, 2017

Hi-Fi | Wi-Fi | Sci-Fi: Predictions Past Present and Future by Victor Gluck, Editor-In-Chief

The only real high-tech exchanges take place only three times during the run of the show. At the performances of February 6, 9 and 17, one of the roles in "Camera Obscura" will be performed …

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Thursday, February 9, 2017

Bound to Rise by Victor Gluck, Editor-In-Chief

Unfortunately, Policoff’s book is too cluttered with characters too allow for much development. While some of his lyrics are clever, most are prosaic and heavy-handed. As played by music d…

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Monday, February 6, 2017

The Liar by Victor Gluck, Editor-In-Chief

However, it is Ives’ joy in language that is the most infectious. The rhymed couplets keep coming and surprising us over and over again (bitter/twitter; prize/rhapsodize, jocular/interlocu…

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Saturday, February 4, 2017

92Y’s Lyrics & Lyricists Series: “Get Happy: Harold Arlen’s Early Years” by Victor Gluck, Editor-In-Chief

The show began with Arlen’s first hit, “Get Happy,” 1930, and ended with his 1939 score for the MGM film, "The Wizard of Oz." The first half of the evening was devoted to Arlen’s sta…

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Friday, February 3, 2017

Yen by Victor Gluck, Editor-In-Chief

There are many questions that the author fails to answer. Although the boys have not attended school in years and Bobbie has been diagnosed as ADHD and should be in the British equivalent of…

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Monday, January 30, 2017

Milk and Honey by Victor Gluck, Editor-In-Chief

While the jokes may be hoary, Unger’s production has cut down on the show’s sentimentality and given it a sharp edge which elevates the material. As the heroine Ruth, Runofsson is genuin…

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Saturday, January 28, 2017

Jitney by Victor Gluck, Editor-In-Chief

Director Ruben Santiago-Hudson has himself won a Tony Award for his performance in Wilson’s "Seven Guitars" and has directed acclaimed Off Broadway revivals of "The Piano Lesson" and "Seve…

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Yours Unfaithfully by Victor Gluck, Editor-In-Chief

One problem is that the play (unlike Noel Coward’s "Design for Living" or Somerset Maugham’s "The Constant Wife" which cover similar territory) is neither witty not clever, and none of t…

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Monday, January 23, 2017

Orange Julius by Victor Gluck, Editor-In-Chief

On the one hand, it is a punch in the gut dramatizing the cold hard facts of disintegrating with this disease; on the other, the non-linear time scheme is difficult to follow, offering more …

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Saturday, January 21, 2017

The Present by Victor Gluck, Editor-In-Chief

Upton’s version solves some problems and creates others. Updated to the 1990’s, the play is no longer about life in Tsarist Russia but the post-Perestroika world of Glasnost. While the o…

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Tuesday, January 10, 2017

Blueprint Specials by Victor Gluck, Editor-In-Chief

Never before seen on mainland U.S.A, the current show is an amalgam of the four existing shows ("P.F.C. Mary Brown;" "Hi, Yank!;" "About Face" and "OK, USA") of the six that were written. Di…

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Martin Luther on Trial by Victor Gluck, Editor-In-Chief

Set in The Afterlife, a crossroad between Heaven and Hell, the play presupposes a trial of Luther on the grounds of being guilty of “the unforgiveable sin.” The prosecuting attorney is T…

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Saturday, January 7, 2017

What We Wanted by Victor Gluck, Editor-In-Chief

While Harms has a fine ear for dialogue, the play moves by revelation and incident. Consequently, it plays like a sophisticated soap opera as every scene brings a new wrinkle not previously …

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Thursday, January 5, 2017

The Mikado Reimagined (NYGASP) by Victor Gluck, Editor-In-Chief

In keeping with Sullivan having been hit over the head, the cast is clothed in a motley collection: a combination of late Victorian and Japanese styles. Some are in all Japanese, some in all…

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Saturday, December 31, 2016

God of Vengeance by Victor Gluck, Editor-In-Chief

Surprisingly, Eleanor Reissa’s production for New Yiddish Rep has made some debatable choices which damage the power of the play. First of all and most obviously, although not a word has b…

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Mar 26: Sweat - Studio 54