***This giveaway has concluded.***
Lincoln Center Theater vets Seth Numrich and Danny Burstein are back in a revival of Clifford Odets’ drama Golden Boy. Numerich stars as Joe Bonaparte, a gifted violinist who sacrifices his music talents for stardom in the boxing ring during Depression-era America. Tony Shalhoub co-stars in the Barlett Sher-directed drama. Stage Rush is giving away a pair of tickets to two lucky readers to see the show at the Belasco Theatre.
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- Ron Raines gives the rundown on each of his Follies costars
- The best performances of the Suites By Sondheim benefit concert
- Broadway grosses
What do you think, Rushers? Who is your favorite character in Follies? Do you see where Ron Raines is coming from with his assessments of his castmates? Were you at the Suites By Sondheim concert? Who do you think gave the best performance? Leave your thoughts in the comments below!
If there’s a lesson to learn from Follies, it’s “Don’t look back.” Because if you do, there’s only a mess there. Featuring a fearsome foursome of Bernadette Peters, Jan Maxwell, Danny Burstein, and Ron Raines, this revival of Stephen Sondheim and James Goldman’s musical follows a group of former showgirls who gather for a reunion at the theater where they once basked in the spotlight before it’s demolished into a parking lot. What seems to be an innocent trip down memory lane exposes the cracks of marriage and the open wounds of regret for the two main couples.
The No. 1 Reason To See Follies: Bernadette Peters’ performance of “In Buddy’s Eyes” Read more
There’s a lot happening on stage at Women on the Verge of a Nervous Breakdown, but unfortunately, not enough of the right things. This new David Yazbek and Jeffrey Lane musical is jam-packed with Broadway A-listers, but unfortunately, Broadway’s best actors don’t write. Which asks the question: why would the likes of Patti LuPone, Brian Stokes Mitchell, and Sherie Rene Scott sign on to a show with such poor writing?
Based on the 1988 Pedro Almodovar film of the same name, the story finds Pepa (Scott) dumped via answering machine by her lover Ivan (Mitchell). The message sends her into a “Why me??” rampage across Madrid, in which she meets Ivan’s wife, Lucia (LuPone), who is just as “Why me??”—only funnier. Pepa’s airhead of a pal (Laura Benanti) finds out she might be dating a terrorist and Lucia’s son’s fiancée (Nikka Graff Lanzarone) thinks her future husband might have separation issues with his mother, and before you know it, they’re all crying “Why me??”
Why this show? Why now? Why would Yazbek, Lane, and director Barlett Sher (of the fantastic South Pacific revival) unite this cast for such a paper-thin musical? Since the show is only scheduled to run till only the end of January, perhaps it’s because these actors figured this would be an easy showcase. And it is—no one in the cast breaks a sweat.
Scott gives a vacant performance as Pepa, unable even to make her character’s whininess authentic. Lanzarone gives off a “Why am I even here?” air to her performance. The fantastic de’Adre Aziza (Passing Strange) isn’t given anything to work with. (She understudies the role of Pepa, which I would be very keen on seeing.)
No one in Women on the Verge is given much character depth. That said, Patti LuPone makes a refreshing switch from her usual weighty roles and absolutely relishes in her eccentric Lucia. Whether she’s shamelessly ripping off a wig or standing in front of a Picasso painting and declaring how terrible she looks, LuPone is having a blast on stage, and thus gives the audience some of the evening’s few charms. Danny Burstein, hot off his last Sher collaboration with South Pacific, can once again be counted upon to bring the charm. His Taxi Driver doesn’t do much but spin Pepa around the stage in a crazy cab a few times, but each time is a welcome arrival. The real credit in the cast goes to Benanti, who is a riot as the model Candela. She’s a delightful twit with perfect timing, hilarious facial twists, and spot-on physical comedy. She delivers the best number of the show with “Model Behavior,” as she leaves a call-screening Pepa an innumerable amount of I-need-your-help voicemails. Read more
The second installment of the free summer Broadway-at-lunchtime extravaganza (aka Broadway in Bryant Park) enjoyed much less steamy weather than its premiere week. I also indulged in one of the park’s signature green chair this time, which resulted in a much further spot for filming, which I didn’t realize was a consequence until later. Let me know if the videos are too difficult to see, or if you enjoyed the full-stage perspective.
This week’s concert, which boasted a hefty lineup, kicked off with the oddball of the group—The Radio City Christmas Spectacular, featuring the Rockettes. I can’t be the only one who isn’t keen on Christmas in July. Thankfully, the Rockettes showed the audience mercy and refrained from performing to any Yuletide tunes. Instead, they relegated their performance to a brief routine of high kicks and chorus lines to an instrumental number (no Christmas carol I could make out), and exited the stage roughly three minutes after they began. Someone’s not getting coal in their stocking, come December.
The first real show to take the stage was the king of Broadway, The Phantom of the Opera. Phantom actor John Cudia was not in attendance, but Paul Schaefer knocked it out of the park with “Music of the Night.” Interestingly, Phantom only got two songs, which, as I would find out, left more time for newer shows. Usually, all shows get four numbers. This week, the allotted numbers were quite unbalanced.
The cast of South Pacific was up to bat next, and they were easily the best performers of the day. I’ve thought for a while that the South Pacific chorus is the strongest I’ve ever seen on Broadway. Danny Burstein and his men proved it once again with “There Is Nothing Like A Dame,” making full use of the stage, something that Memphis could have done (but more on that later). Laura Osnes (ah, a star!) was up for the Bryant Park challenge and sang “A Wonderful Guy.” Seeing her perform was a first for me, and I was quite impressed with her vocals.
Video: “There Is Nothing Like A Dame”