Everyone connected with Therese Raquin seems to know what a powerhouse it is as a portrait of 19th-century middle-class French malaise. It's a shame that Cabnet hasn't quite propelled that past the footlights.
Out on Eastern Long Island, real food and real estate rule, somebody who knows recently told me. This wisdom was proven at a special dinner at the Pollock-Krasner House on the waterfront Springs site where the artist couple lived.
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.
There may be two outstanding reasons why in 1960 Fiorello! was only the third musical to nab the Pulitzer Prize for Drama. Both reasons are craftily on display in the sparkling Encores! revival at City Center.
While Giant is far too long and lacks far too much focus, the excellent cast and gorgeous score are both beautiful. The show could undoubtedly benefit from some trimming and restraint - perhaps like the actual state's attitude towards the rest of the country as well.
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.