Jerusalem, currently playing at Newbury's Watermill Theatre, is a fantastic and unique production. This is no surprise, when you consider that it was written by Jez Butterworth (whose incredible play The Ferryman has just closed in the West End). Jerusalem is darkly comic, well layered, and razor-sharp.

Jerusalem spends almost two and a half hours making you laugh, and then sobers you up in the space of a minute. Tension within this production is created deftly, and the comedic elements of the play toy with this, at times balancing it out, and at times accentuating it. The resulting atmosphere is very effective.

“Another Op'nin', Another Show” at the always reliable Westchester Broadway Theatre. Though not Cole Porter’s peerless “Kiss Me, Kate” which WBT staged several seasons ago, the musical just launched in fine fashion is his shipboard lark “Anything Goes,” a show laden with hit songs and swells engaging in lyrical romance and silly hijinks.

Speaking of openings, this production starts rather inauspiciously with a desultory overture during which three couples dance to a few bars of the title song before the first scene begins. Director and choreographer Richard Stafford sticks to this pattern of having short, quasi-balletic interludes during scene changes—a boon for chorus members, even if it contributes to a choppy passage.

There is an interesting historical narrative in the life of Margery Kempe and her ambition to be recognized as a strong, viable female and not oppressed by the male domination of the Middle Ages. Unfortunately, in this revival, that profound persona is construed as lunacy all for the sake of humor. 

Art Centre Theatre’s performance of the musical “Cats”, currently running through 21 July, offers audiences an eye-opening glimpse into the diverse and complex inner world our feline companions inhabit.

This production’s meticulous attention to scenery details and stage construction instantly transports the audience to the Jellicle Cats’ junkyard kingdom. Once its inhabitants discover the presence of a human audience, they launch into a delightful procession of songs and dances explaining the world through their eyes. The mischievous, the brave, the magical and glamorous cats of yesteryear parade before the audience in a feast for the senses.

Playwright Mike Lew characterizes his play “Teenage Dick” as “vaguely from Richard III.” The protagonist of this engaging and quite dark play is high school junior Richard Gloucester (Gregg Mozgala). Richard has CP and likes to speak with a Shakespearean flair and verbiage. His disability and diction have made him the object of verbal and physical harassment. This Roseland High School teenage Dick, like his “Buncback’d Toad” namesake Richard of Gloucester, has problems that transcend his disability: both possess an indomitable vengeful spirit that brings them to deciding “whether it’s better to be loved or feared?” The objectives of Richard’s wrathful behavior at Roseland High are to wrest the role of senior class president from Eddie (an uber-confident and self-possessed Alex Breaux) and date Eddie’s former girlfriend Anne (an effervescent and determined Tiffany Villarin). Aficionados of Shakespeare are on alert.

The Iris Theatre's production of The Tempest, playing at St Paul’s Church in Covent Garden (London's West End), is an enjoyable adaptation of Shakespeare's play, but one which, at times, feels a bit too cautious.

For younger audiences, it can often be easy to forget the horrors of oppression and censorship that came throughout Fidel Castro’s regime in Cuba. While some had hope for the revolution against the wicked Batista, it only was replaced by yet another regime that was so lacking in freedom of speech and expression, it forced many to flee and seek a more open society. It is exactly these reasons for fleeing to the U.S. that Petro Pan – one of several new outings being presented this year at the New York Musical Festival – seeks to remind theatergoers.

To see actors who have received proper professional training in the use of two core instruments – their bodies and their voices – and to tell a story that keeps its audience riveted for just over two hours was marvelous in every extent. Soulpepper’s opening night production of Virginia Woolf’s Orlando (adapted by Sarah Ruhl) was magically executed by five creatively talented actors who never once faltered in telling this story of gender identity with the utmost empathy.

One of the production highlights that worked so well for me was the simplicity of Orlando’s staging. Upon entering the auditorium, I was immediately struck by a theatre in the round setting, so very different from the traditional proscenium arched stage that I am accustomed to seeing in this venue.

Los Angelenos enthusiastically embraced the cast of “One Your Feet!” last night at the Hollywood Pantages Theatre. The Opening Night of this Broadway touring show had adorning fans ten rows deep, outside the theatre hoping to get a glimpse or photo of seven-time Grammy winning international superstar Gloria Estefan and her Grammy winning husband, producer-musician and entrepreneur Emilio Estefan.

If you've ever made your way to New York City's overcrowded Times Square, you have no doubt seen the bronze statue of a smiling George M. Cohan erected prominently at its center, surrounded by the flashing lights and loud city noises of this busy tourist destination. Below his name and the years of his birth and death is a simple etching: "Give My Regards to Broadway"—which is, of course, both the title of one of his many well-known songs as well as being an appropriate motto that fits his very existence.

It is hard to argue that Mamma Mia at Plays in the Park in Edison, NJ, directed by Moggie Davis, is not incredibly cheesy but that is exactly what makes this show so much fun. Plays in the Park is an annual occurrence every summer in Middlesex County where over 500 patrons each night come to see theatre under the stars at an affordable price. As I looked around the open-air theatre, at the rows that stretched back past what I could see, I thought of how theatre has the remarkable ability to bring so many different people together on a Wednesday night to enjoy something that is joyful. Mamma Mia doesn’t have much substance to its script but shows such as this one are important to the scope of musical theatre and are needed in this bleak world that we inhabit. 

Recently, I had written an article on whether classic twentieth century musicals have run their course with such titles as Fiddler on the Roof, My Fair Lady and The King and I coming to mind. The latter is one that has always puzzled me for its continued fascination with audiences.

The story chronicles the experiences of widow Mrs. Anna Leonowens, a British school teacher, who was hired as part of the King of Siam’s drive to modernize his country in the early 1860s. Mrs. Anna and her son Louis travel to Siam where she will teach the Royal Family all about British culture, etiquette, and customs. Since the King is also considered a barbarian, Mrs. Anna must also prepare a party for a group of English diplomats with the hope they will change their opinions about the King.

As much as I call myself a musical fanatic, I have never seen a Cole Porter musical. Well, until last night (Wednesday 4th July 2018), when I saw Kiss Me Kate, in Edinburgh's stunning Festival Theatre.

There were, at the outset, some environmental concerns. Rain seemed likely, and given the weather pattern that Wilmington, NC had been experiencing over the week or so prior to Saturday, July 8, a torrential downpour was well within the realm of possibility. This was on the minds of those of us who climbed the wooden ramps to the open-air fantail of the USS North Carolina, permanently berthed on the Cape Fear River and functioning as a WWII monument. It is open for daily tours, and playing host, so it has been said, to a few ghosts. The weather was on the minds of the cast and crew of The Caine Mutiny Court Martial, as well. With a curtain scheduled for 8 p.m., and the skies growing grayer than the gunmetal of the ship itself, some were convinced that everybody would be ducking for cover before it was over. Possibly before it even started.

If you're from the UK and a musical theatre fan, then unless you've been hiding under a rug, you'll know everybody IS talking about Jamie. Unfortunately, I haven't been able to fit a trip to London to see this highly praised musical, however, thanks to More 2 Screen, Everybody's Talking About Jamie, was broadcast into my local cinema this evening (Thursday 5th July 2018). Did this musical live up to the hype?

Nora’s Playhouse, a NYC-based women’s theatre collective dedicated to producing women-centric stories, brings to The Tank, whatdoesfreemean?, a world premiere work by Catherine Filloux, an award-winning playwright whose works focus on human rights and social justice themes.  Sometimes “Theater with a Message” can be preachy or heavy-handed, but this show is far from that. Visceral and impactful, whatdoesfreemean? approaches incarceration with depth and candor and a bit of whimsy.

Written by William Shakespeare, Macbeth, or as most theatre folks refer to it, The Scottish Play, is a psychological and tragic tale of blind ambition and destructive, consuming power. It is a play full of malicious intentions and gruesome murders. Fantastically directed by the Obie Award-winning Melia Bensussen, who was inspired by the ghost stories of Edgar Allen Poe, this production with its intriguing artistic choices made it unique, unlike many of the others I have seen. In this rendition, Macbeth’s ambition and belief in his imagination lead to his destruction more-so than the witches and supernatural forces who, in other productions, are so often blamed. He mercilessly pursues his dreams and desires.

Bracingly original, astonishingly resourceful and daringly theatrical. These are phrases I often associate with artists like John Doyle, Ivo Van Hoe or Michael Arden, directors who reinvent and reinvigorate everything they touch. These aren’t phrases, however, I often associate with the local theater scene. I’ve kvetched before on OnStage about the tendency for companies to offer cut-and-paste productions that assemble their musicals solely based on the italic notes offered in the libretto. Yet bracingly original, astonishingly resourceful and daringly theatrical is exactly how I’d describe the sublime and innovative production of “Cabaret” offered by the new New Haven-based troupe The Harpers.

This ninety-five-minute adaption of the rarely revived “Carmen Jones” is tightly constructed by Mr. Doyle, with a remarkable cast of ten extremely talented and tenacious actors who embody their characters but also develop their souls. Purists may miss the values of a big Broadway production for which this was written but will certainly experience the intimate essence of a small chamber musical. The production is not perfect but do not miss this opportunity to see this obscure musical brought to life by this impressive cast.  

While doubtlessly conversant with the medium, those born after 1990 probably don’t appreciate the full extent of television’s influence on American culture. Prior to the advent of the personal computer, the Internet and cell phones, TV was how people got most of their information and entertainment.