The current trend towards transgender plays gets a heart-jolting spin by way of Anna Ziegler's Boy, another of her Ensemble Studio Theatre/Alfred P. Sloan-backed plays and now under Keen Company auspices at the Clurman.
The generally spacious, multi-level restaurant was jam-packed with everyone from Nathan Lane to Bernadette Peters, and everywhere you looked, you couldn't help but lock eyes with Victor Garber or rub shoulders (literally) with F. Murray Abraham.
I can't say enough about the complex emotions carefully observed and translated to the stage that the prolific playwright -- represented on Broadway for more than 50 years -- covers in his intermissionless 90-minute four-hander.
Intelligent, unconventional, non-cookie-cutter Broadway musicals are so rare that we try to go out of our way to encourage those that come along. Susan Stroman's Big Fish, at the Neil Simon, is such a one.
Maybe that reminder of good parts compensating for the less-than-successful whole -- along with a stageful of singers shining in individual scenes that catch fire -- will and should work for Giant. At the moment, it, sho' 'nuff looks like show enough.
Giant is a wonderfully intimate and complex show, but it will fill up a Broadway stage with ease. You know the story from the novel by Edna Ferber or the somewhat leaden film best known for containing James Dean's final performance.