Even in the harshest descriptions of the violence and almost unbelievably cruel twists of fate that Yarris endured (the DNA testing keeps getting accidentally mucked up), Brody lends him a v…
In his Broadway debut, Brody brings the same intensity and hangdog vulnerability that underscore his best film performances, and if his hip-hop Yo! MTV Raps street mannerisms seem an actorly…
Ferrentino struggles to synthesize the true story's larger themes, so even if Brody has some affecting moments in the closing scenes, the play is flat, emotionally ineffectual. It's a disapp…
One leaves the Fear of 13 certainly horrified by the injustice done to Yarris, and moved by his journey to freedom, but it's a fleeting feeling. Ferrentino and Brody have not burrowed deep e…
Brody comports himself well enough. He is poised and relaxed, and the delicate, damaged spirit he brings to his heartbreaking films transitions smoothly to the theater. It's just that "The F…
From a basement Off-Broadway to an international phenomenon, TITANÃQUE sails onto Broadway for its grandest voyage yet. Winner of the Olivier Award for Best New Comedy, this global splash…
There's a lot to digest, and the pace doesn't help: It is so relentless that it's as if we're watching a playback at twice the normal speed. Sometimes "TitanÃque" lands and sometimes it m…
Now, amped up about as high as it can go with an all-star cast, TitanÃque is guaranteed to deliver the most fun night you will have at the theatre this year. The post Oh Ship! A Fabulous …
In a world chugging toward dark waters, TitanÃque is a guaranteed good night out"one that ends with the whole audience singing. The post Broadway's Fabulous Musical Shipwreck, Now with Mo…
Campier than the campy Cats: The Jellicle Ball but no less generous in its embrace of queer heritage's seismic impact on American culture, TitanÃque on Broadway is bigger than a mere hoot…
Advertised as a strictly limited run, the show's established and Millennial-friendly fan base should be coming back for seconds and the Broadway gig will give cachet to future cruises. Overa…
TitanÃque is the kind of giddy, dippy, fan-friendly spectacle that invites you to arrive a glass-and-a-half deep, literally or spiritually. The post C'est Absurde, In the Best Possible Wa…
I can't say the humongous St. James Theatre, which suits hardly any show, is my favorite port of call. Nobody can argue that its distancing size is an asset to a musical that thrives on a di…
As intellectual property goes, never count out our endless fascination with the Titanic, which was the origin story of this show, set in a Titanic museum, presumably the real one in Pigeon F…
A shining comedy showcase, a bonafide arena concert, and a well-built musical that doesn't require much Titanic knowledge to enjoy. The post An even bigger boatload of campy fun appeared fir…
One man and his family are caught up in the pressures and delusions of living the American Dream. Miller's play is the story of a traveling salesman whose illusions of picture-perfect busine…
Mantello has leaned into the play's sense of abstraction " Willy often loses himself in his own mind " which has the effect of emphasizing both its timelessness and its timeliness. (Miller's…
And yet, I was ultimately unmoved. Why? In sitting uncertainly between total adornment and its weighted ideas of temporal displacement, the production had never quite gotten me there. This S…
From the breathtaking opening scene when a car drives onstage, its bright headlights shining into the audience, to the moment it backs out of Chloe Lamford's astonishing set, this Salesman d…
A worthwhile revival will always give you the feeling " even more significant than re-seeing an astonishing play " of truly hearing it, and that's what happens here. Again and again, as Lane…
Down to the smallest roles, this production is astutely cast, and its arresting design elements add a suitably shabby grandeur to the play's unsparing view of America's broken promises. Mant…
But first and last, Salesman is Willy's story, and generation after Broadway generation has thrown its best into the role, from Lee J. Cobb, Fredric March (in the 1951 film), George C. Scott…
The newest Broadway production of Arthur Miller's storied play (directed by Joe Mantello) has lost none of its power in the tale of a man fighting the demons of his past while also strugglin…
As with his direction of the actors, however, Mantello likes to pour it on gooey. Each act is introduced with Caroline Shaw's overly somber music, reaching for but failing to achieve Philip …
What's most striking is the musicality of his voice. This isn't a musical, and yet it often feels like one when he speaks. Lane shapes Miller's language as if he's singing it, or delivering …