In addition to offering a host of new songs to go alongside the nostalgia, the show gives a wonderful glimpse into the ups and downs of Berry Gordy's quest to make this "black music" transcend and be accepted by audiences of all races, ages, and locations.
Five final shows to see before the holidays take over. They ranged from a marvelous breathing-to-life of a poem more than 200 years old, a so-so take on the Scottish play, a one-man homage to a master via August Wilson's biographical piece and two new works from talented writers.
Being born is one thing. Being born in NYC in 1923 is the best thing! That year has colored my entire life. To be a part of the Broadway scene in 1944 and to dance in the Shubert Theater and walk through stage door 6, nights and matinees. That was living!
We see how an examination of the arts, and one artist in particular, has lessons for every kind of life. Stephen Sondheim, and other artists like him, do not merely entertain; they are teachers.
Some plays need to look as if they're being performed with absolutely no effort whatsoever. They must seem merely tossed off. That's the fun of them. Perhaps the most famous example is Private Lives, the jazzy romantic comedy Noel Coward wrote in 1930.
The hills are alive... with the shrieks of homosexuals who either loved or hated NBC's live version of The Sound of Music. Personally, I thought it could've been a smidgen gayer. In fact, we have so many great gay musicals that I decided to rank them all.
Two plays -- one I love, and one I've never liked -- are currently running in repertory on Broadway at the tiny jewel-box called the Cort Theatre.
Not everyone seemed to share my excitement. At least not in a positive way. Twitter and Facebook seemed to explode with negative comments before the first commercial break.
To paraphrase Shakespeare: "The set's the thing." That sums up the Pearl Theatre's final production this season, And Away We Go, in which audiences are taken on a quick ride through the theatrical canon.
The current Broadway revival at the Cort Theater of Waiting For Godot is never less than riveting. That's thanks to the extraordinary chemistry between Ian McKellen as Estragon and Patrick Stewart as a determined, upbeat Vladimir/Didi.
When I moved to New York City in the late 80s to attend a musical theater school, I could never get over the fact that all across the city, magic was occurring in numerous Broadway theater houses each night.
Well, I just finished watching The Sound Of Music: LIVE. I'm on the West Coast and in summation: the hills are certainly still alive. (Unfortunately in one respect there is way too much "wood.") Sit back, please. This is not brief.
Whatever your reactions to any particular element (most everyone agrees Twelfth Night is the triumph for Rylance while opinion is divided on these two), it's safe to say these are "events" in the best sense of the word, nights of theater you want to see and judge for yourself.
If you're in New York, you owe it to yourself to see the sexiest, most mind-blowing night of singing and sin you'll ever experience.
She's a Tony Award-winner, a TV star, a celebrated singer/performer with commanding vocals, and, apparently, a woman who loves horses. This is Be...
The pairing of No Man's Land with Godot is a stroke of genius, bringing the two masters of comedic and enigmatic incomprehension, Pinter and Beckett, to the stage in alternating performances that underscore the affinity between them.