The $3 million American Repertory Theater version of Finding Neverland remains a work in progress, a “tryout” as it has been dubbed, and it feels just like that.
Icarus proffers plenty of spectacle and talent, but the show only recycles a story we’ve seen countless times on stage and screen.
It was not the first time the Sarajevo Haggadah had benefited from Muslim protection: during the Nazi occupation, another librarian had spirited the Hebrew manuscript out of danger and hidden it in a local mosque.
“Witness Uganda” is a quintessential American musical — a work of cultural tourism that condemns cultural tourism.
John Tiffany’s Tony-winning direction of “Once,” restaged for the current tour, is a miracle of judicious rhythmic choices and deft transitions.
Like the great immigrant musicals, “In the Heights” touches on the tension between old and new cultures and generations, finding home, families and their expectations.
In Memphis, the risqué exhilaration of early rhythm and blues is airbrushed away, to the point that the show appears to argue that from its inception black music sold out to mainstream tastes.
Despite the material’s limitations, the stellar SpeakEasy Stage cast and designers nail “Bloody Bloody Andrew Jackson”‘s irreverent, over-the-top vibe, serving up plenty of humor and high amplitude entertainment.
If you’re into pastry, Cupcake is for you. But if you expect something more filling, then I’m afraid you’ll have to wait for this creative team’s next baking session.
The musical wheels out well-trodden jokes about growing old while supplying all the usual greeting card life lessons (live each moment as if it were your last!).