1. Hadestown, New York Theatre Workshop, 4 June
If it weren't for Hamilton, Hadestown would be the best new musical I've seen in the past six years (i.e. since Bloody, Bloody Andrew Jackson in 2010). The play is a retelling of the myths of Persephone and Orpheus & Eurydice via well crafted lush folk-pop songs. Both the songs and the cast were mesmerizing. The cast offered up a wealth of vocal talent, but Hades (Patrick Page – imagine Tom Jones crossed with a Disney villain), Orpheus (Damon Daunno, who at times seemed to be channeling Jeff Buckley's ethereal tones), and Eurydice (Nabiyah Be, full of both soul and innocence) were especially outstanding. The set design was magical and transformative, and the play was cleverly structured – with Hermes narrating the action, making the story clear and easy to follow. Thankfully, a cast album is forthcoming, because I can't wait to relive this beautiful adventure over and over.
If it weren't for Hamilton, Hadestown would be the best new musical I've seen in the past six years (i.e. since Bloody, Bloody Andrew Jackson in 2010). The play is a retelling of the myths of Persephone and Orpheus & Eurydice via well crafted lush folk-pop songs. Both the songs and the cast were mesmerizing. The cast offered up a wealth of vocal talent, but Hades (Patrick Page – imagine Tom Jones crossed with a Disney villain), Orpheus (Damon Daunno, who at times seemed to be channeling Jeff Buckley's ethereal tones), and Eurydice (Nabiyah Be, full of both soul and innocence) were especially outstanding. The set design was magical and transformative, and the play was cleverly structured – with Hermes narrating the action, making the story clear and easy to follow. Thankfully, a cast album is forthcoming, because I can't wait to relive this beautiful adventure over and over.
2. Noises Off, American Airlines Theatre, 13 February
I had to go see this play because it got great reviews and because it featured so many of my favorite Broadway actors – namely Jeremy Shamos, Campbell Scott, Rob McClure, and Andrea Martin – as well as Daniel Davis, who played Niles on The Nanny (!!!). Noises Off was utterly delightful: all the performances were spectacular and the production as a whole was beyond hilarious. I laughed so hard throughout the play, but the third act was so funny it brought me to tears. The whole thing is British humor at its best, almost in the vein of Are You Being Served?, but even more smartly absurd.
I had to go see this play because it got great reviews and because it featured so many of my favorite Broadway actors – namely Jeremy Shamos, Campbell Scott, Rob McClure, and Andrea Martin – as well as Daniel Davis, who played Niles on The Nanny (!!!). Noises Off was utterly delightful: all the performances were spectacular and the production as a whole was beyond hilarious. I laughed so hard throughout the play, but the third act was so funny it brought me to tears. The whole thing is British humor at its best, almost in the vein of Are You Being Served?, but even more smartly absurd.
3. Lazarus, New York Theatre Workshop, 18 January
This play is not perfect, but it is pretty damn special, and it would still be special if David Bowie were still alive. Watching The Man Who Fell to Earth the night before I saw this play may have put Michael C. Hall at a disadvantage in my eyes because he did not bring the same tenderness to Thomas Jerome Newton that Bowie did. Hall's Newton seemed wooden and detached, and lacked the emotional depth that I would expect from the character based on Bowie's performance in the film. However, Hall's singing voice, along with the voices of the rest of the cast (especially Sophia Anne Caruso), did Bowie's songs proud. The live band, slightly jazzy arrangements for many of the songs, female voices, and the context in which they were deployed in the play brought new depth to songs I've heard countless times before.
This play is not perfect, but it is pretty damn special, and it would still be special if David Bowie were still alive. Watching The Man Who Fell to Earth the night before I saw this play may have put Michael C. Hall at a disadvantage in my eyes because he did not bring the same tenderness to Thomas Jerome Newton that Bowie did. Hall's Newton seemed wooden and detached, and lacked the emotional depth that I would expect from the character based on Bowie's performance in the film. However, Hall's singing voice, along with the voices of the rest of the cast (especially Sophia Anne Caruso), did Bowie's songs proud. The live band, slightly jazzy arrangements for many of the songs, female voices, and the context in which they were deployed in the play brought new depth to songs I've heard countless times before.
4. The Front Page, Broadhusrt Theatre, 11 November
I've been wanting to see Nathan Lane on Broadway for years, and I'm glad this was the play that finally made that happen. Lane and John Slattery are both excellent actors with a flair for dry wit. The play was at its best when these two were on stage together, even if they weren't yelling at each other, but into telephones instead. Overall, the play is extremely funny, and the whole cast (including John Goodman, Christopher McDonald, Robert Morse, Dann Florek, and many more) plays the humor to the hilt. While I'm sure Nathan Lane was excellent in the 1992 revival of Guys and Dolls (which I am so sad that I didn't get to see), The Front Page seems like the next best thing to have had the privilege of seeing him in.
I've been wanting to see Nathan Lane on Broadway for years, and I'm glad this was the play that finally made that happen. Lane and John Slattery are both excellent actors with a flair for dry wit. The play was at its best when these two were on stage together, even if they weren't yelling at each other, but into telephones instead. Overall, the play is extremely funny, and the whole cast (including John Goodman, Christopher McDonald, Robert Morse, Dann Florek, and many more) plays the humor to the hilt. While I'm sure Nathan Lane was excellent in the 1992 revival of Guys and Dolls (which I am so sad that I didn't get to see), The Front Page seems like the next best thing to have had the privilege of seeing him in.
5. American Psycho, Gerald Schoenfeld Theatre, 23 April
Three years after becoming a supporter of the Kickstarter campaign for this musical, I finally got to see American Pyscho on stage, though I'm not quite convinced that a Broadway stage is the right venue for such a polarizing work. That being said, American Psycho is an exceedingly well put together production. Benjamin Walker is excellent as Patrick Bateman; however, he does borrow many cues from Christian Bale's take on the role in the 2000 film version. The rest of the ensemble also gives it their all with extremely high quality vocals and committed performances. The choreography is nicely done – and often amusing; the minimalist set design makes good use of digital integrations; and of course Duncan Sheik's songs are divine and perfectly suited to the late 80s setting. However, there are a few scenes in the stage version that are disturbing enough to make me recall some of the more depraved scenes in the book. As someone who was deeply unsettled and disturbed by the gruesome scenes in the second half of Ellis's novel, I found that the play acknowledged the darkest side of Bateman's story enough to unsettle me once again, though not nearly as profoundly.
Three years after becoming a supporter of the Kickstarter campaign for this musical, I finally got to see American Pyscho on stage, though I'm not quite convinced that a Broadway stage is the right venue for such a polarizing work. That being said, American Psycho is an exceedingly well put together production. Benjamin Walker is excellent as Patrick Bateman; however, he does borrow many cues from Christian Bale's take on the role in the 2000 film version. The rest of the ensemble also gives it their all with extremely high quality vocals and committed performances. The choreography is nicely done – and often amusing; the minimalist set design makes good use of digital integrations; and of course Duncan Sheik's songs are divine and perfectly suited to the late 80s setting. However, there are a few scenes in the stage version that are disturbing enough to make me recall some of the more depraved scenes in the book. As someone who was deeply unsettled and disturbed by the gruesome scenes in the second half of Ellis's novel, I found that the play acknowledged the darkest side of Bateman's story enough to unsettle me once again, though not nearly as profoundly.
6. A Man of No Importance in Concert, Signature Theatre, 5 December
This was a thoroughly delightful experience featuring a cast filled with über-talented performers. Richard Thomas absolutely nailed the lead role of shy, closeted Alfie, imbuing him with sweetness, vulnerability, and a quiet strength. The supporting cast was equally inspiring, injecting their performances with humor and humanity. However, the stand-out moment of the show was Jason Danieley's performance of "The Streets of Dublin", which is one of the very best vocal performances I head all year. Danieley's voice is beyond amazing. I didn't want him to stop singing, and apparently nobody else did either because the applause after the song was over went on and on in waves, leaving the cast to stand on stage smiling sheepishly in genuine surprise of the high-intensity enthusiasm that prevented them from going on with the show until the audience calmed down. Based on this concert performance, I would love to see a full production of A Man of No Importance, but unless it includes Jason Danieley, "The Streets of Dublin" just won't feel quite as magical.
This was a thoroughly delightful experience featuring a cast filled with über-talented performers. Richard Thomas absolutely nailed the lead role of shy, closeted Alfie, imbuing him with sweetness, vulnerability, and a quiet strength. The supporting cast was equally inspiring, injecting their performances with humor and humanity. However, the stand-out moment of the show was Jason Danieley's performance of "The Streets of Dublin", which is one of the very best vocal performances I head all year. Danieley's voice is beyond amazing. I didn't want him to stop singing, and apparently nobody else did either because the applause after the song was over went on and on in waves, leaving the cast to stand on stage smiling sheepishly in genuine surprise of the high-intensity enthusiasm that prevented them from going on with the show until the audience calmed down. Based on this concert performance, I would love to see a full production of A Man of No Importance, but unless it includes Jason Danieley, "The Streets of Dublin" just won't feel quite as magical.
7. The Encounter, Golden Theatre, 30 September
The Encounter is a unique, highly immersive experience. The audio geek side of me really loved that this one-man show eschews elaborate set design and instead makes use of directional microphones, inventive props, and creative sound design – all of which are heard through headphones, and thus create an extremely intimate and emotionally rich experience. Simon McBurney's telling of Loren McIntyre's story-within-the-story of how McBurney himself came to tell this story (did you follow that? – becuase it's only marginally clearer on stage) is filled with passion and a sense of true personal investment. Not only was I mesmerized by the closeness and ceaselessness of The Encounter's sound, but I was also riveted by McBurney's commitment to his characters, especially since one of those characters was a past version of himself. It turns out that one man and a pair of headphones can speak volumes about the fiction and simulacra that surround us every day.
The Encounter is a unique, highly immersive experience. The audio geek side of me really loved that this one-man show eschews elaborate set design and instead makes use of directional microphones, inventive props, and creative sound design – all of which are heard through headphones, and thus create an extremely intimate and emotionally rich experience. Simon McBurney's telling of Loren McIntyre's story-within-the-story of how McBurney himself came to tell this story (did you follow that? – becuase it's only marginally clearer on stage) is filled with passion and a sense of true personal investment. Not only was I mesmerized by the closeness and ceaselessness of The Encounter's sound, but I was also riveted by McBurney's commitment to his characters, especially since one of those characters was a past version of himself. It turns out that one man and a pair of headphones can speak volumes about the fiction and simulacra that surround us every day.
8. Elements of Oz, 3LD Art & Technology Center, 9 December
Inspiring, inventive, and genius are the top three words that come to mind to describe Elements of Oz's mash-up of YouTube clips, live action, immediate video play-back, and augmented reality via smartphone. The live action bits largely consist of the (very) small cast reenacting scenes from the 1939 film, but doing so out of order and via over-the-top campy performances, especially by the woman who plays the Wicked Witch of the West and the mustachioed man who often plays Dorothy – and absolutely nails the role. There are also breaks for trivia about the film, alongside clips from YouTube offering cultural commentary and context. Prior to the show, the audience is instructed to download the Elements of Oz app to their smartphones, which allows for augmented reality interaction with the show, bringing aspects of the story like the tornado and the flying monkeys to life in ways that such a small production wouldn't normally allow. Elements of Oz is a truly one-of-a-kind show that demonstrates how the theatre experience can be made even more immersive and transportive than it usually is.
9. A Room of My Own, Abingdon Theatre, 11 March
While A Room of My Own's 'coming-of-age in late 70s Greenwich Village' story didn't offer anything new or fresh, the acting was wonderful. Each and every actor was completely committed to his or her role, not least Joli Tribuzio as the streetwise matriarch, and the incomparable Mario Cantone as her closeted brother. The seamless performances really made this production come to life in ways I wouldn't have expected. And the soundtrack of disco hits didn't hurt either.
Inspiring, inventive, and genius are the top three words that come to mind to describe Elements of Oz's mash-up of YouTube clips, live action, immediate video play-back, and augmented reality via smartphone. The live action bits largely consist of the (very) small cast reenacting scenes from the 1939 film, but doing so out of order and via over-the-top campy performances, especially by the woman who plays the Wicked Witch of the West and the mustachioed man who often plays Dorothy – and absolutely nails the role. There are also breaks for trivia about the film, alongside clips from YouTube offering cultural commentary and context. Prior to the show, the audience is instructed to download the Elements of Oz app to their smartphones, which allows for augmented reality interaction with the show, bringing aspects of the story like the tornado and the flying monkeys to life in ways that such a small production wouldn't normally allow. Elements of Oz is a truly one-of-a-kind show that demonstrates how the theatre experience can be made even more immersive and transportive than it usually is.
While A Room of My Own's 'coming-of-age in late 70s Greenwich Village' story didn't offer anything new or fresh, the acting was wonderful. Each and every actor was completely committed to his or her role, not least Joli Tribuzio as the streetwise matriarch, and the incomparable Mario Cantone as her closeted brother. The seamless performances really made this production come to life in ways I wouldn't have expected. And the soundtrack of disco hits didn't hurt either.
10. Cirque du Soleil Kurios, Randall's Island, 22 October
This is the best Cirque I've seen since Alegria, and it is certainly miles ahead of Totem and Amaluna for a host of reasons: (1) A coherent narrative; (2) No annoying clowns!; (3) Super inventive props: as amazing as all the performers are, I am equally in awe of the set designers who came up with all the apparatuses that the performers use during their acts. This was especially true of the act that utilized chairs to create a dizzying tower for acrobatic feats; (4) Excellent music; (5) New twists on old acts: for example, a bicycle used instead of a plain old bar for an aerial acrobatic act, or the guy balancing on a tower of cylinders and boards doing so on a giant swing high above the stage; and (6) Mini Lili: or as I like to call her, Tiny Angela Lansbury. For the entirety of the show, I was convinced this character must be a child with very good old lady makeup, but in fact Mini Lili is played by a 62 year old Russian actress who is 3'2". The character is adorable, charming, unique, and surprising – just like Kurios itself.
This is the best Cirque I've seen since Alegria, and it is certainly miles ahead of Totem and Amaluna for a host of reasons: (1) A coherent narrative; (2) No annoying clowns!; (3) Super inventive props: as amazing as all the performers are, I am equally in awe of the set designers who came up with all the apparatuses that the performers use during their acts. This was especially true of the act that utilized chairs to create a dizzying tower for acrobatic feats; (4) Excellent music; (5) New twists on old acts: for example, a bicycle used instead of a plain old bar for an aerial acrobatic act, or the guy balancing on a tower of cylinders and boards doing so on a giant swing high above the stage; and (6) Mini Lili: or as I like to call her, Tiny Angela Lansbury. For the entirety of the show, I was convinced this character must be a child with very good old lady makeup, but in fact Mini Lili is played by a 62 year old Russian actress who is 3'2". The character is adorable, charming, unique, and surprising – just like Kurios itself.
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