Apprehensive is an understatement. Walking into see "The Testament of Mary," I had no idea what to expect; however, there are not enough adjectives to describe the energy and beauty with which this one-woman monologue unfolds on the stage of the Walter Kerr Theatre.
I advise you to give up trying to figure out how everyone fits into assorted productions of Chekhov and just sit back and allow Christopher Durang's Harvard-honed wit and fine sense of camp to creep over you like a parlor game, directed with economy and finesse by the brilliant Nicholas Martin.
The one female in the stellar cast is Celia Keenan-Bolger. I had the opportunity to chat with her to talk about Peter and the Starcatcher, playing a child once again, marrying fellow actor John Ellison Conlee and the rest of her talented family.
So what is the scorecard of play production, both commercial and not-for-profit on Broadway over these last 20 years? Three hundred and ninety-seven productions by 228 playwrights, with more than a quarter of the plays produced written by the 17 men listed above.
Extremely original, The Mountain Top is a story about Martin Luther King Jr. as an ordinary man, a man that the public may have never seen. We manage to see him not as an intangible, iconic figure in history, but as a sweet yet complex individual with flaws.
Noel Coward's timeless comedy opened last week at the Music Box Theatre, and if you have the privilege of seeing Paul Gross's long-awaited Broadway debut, you'll enjoy a nuanced, charismatic star turn.
If you're religious to the point you refuse evolution as a concept, this is not the play for you. But for the rest of the world, Coming is that bitch-slap that will shock you and leave its impression after you leave.
There is a wide-open landscape on the iTunes app store merely waiting for serious Broadway content. Playbill must look beyond its website and in-theater booklets and focus on engagement and digital creativity.