Neil Simon Theatre, 16 February & 16 March
Pretty much anything that sends me down a rabbit hole of watching music videos on YouTube deserves a spot on my "worthwhile" list. The book of this musical leaves a lot to be desired, but the singing and dancing are a spectacular tribute to the undeniable force of Pop Music that Michael Jackson was. He was heavily flawed, but he was also a visionary and a genius, and this show makes all of those things abundantly clear. The lyrics for "Smooth Criminal" might not make that much sense, but, damn, the choreography is great; the cast executes that number, and many others, flawlessly. Since Jackson is no longer with us, this musical is a worthy substitute in a world where we can no longer see the man himself perform live.
St. James Theatre, 10 September
This new production of Into the Woods exceeded my – admittedly very low based on the live action Disney movie version (even though Chris Pine was very good) – expectations. The star studded cast shines on the minimalist set, bringing a whole word to life through their songs and physicality. Everyone on stage has a fantastic voice and gives everything they have to their performance. Stephanie J. Block is excellent as the Baker's Wife, Patina Miller is enchanting (and hilarious) as the Witch, Krysta Rodriguez is a relatable Cinderella, and of course Andy Karl was absolutely fantastic in the Chris Pine role of Cinderella's Prince. Andy Karl also played the wolf, and I thought it was very cool that he got to reunite with his Groundhog Day castmaste Katy Geraghty, who played Little Red Ridinghood. After having seen this production, I can understand why it has received rave reviews and keeps extending on Broadway. To borrow a line from another show Patina Miller stared in, Into the Woods has magic to do.
Cherry Lane Theatre, 31 January
Of course I am going to like a standup show by a Jewish guy from Boston (see also: Gary Gulman), but this show is not just the usual Jewish shtick, it's built around Edelman's experience of going to a meeting of White Supremacists in Queens. He masterfully weaves key Jewish experiences from his life into the story of this one highly unlikely day, and the result is thought-provoking and empathy inducing. The way Edelman breaks down the levels of whiteness is one of the many things I could relate to, but I hope that gentiles too will find valuable insights throughout this brilliant one-man show.
Signature Theatre, 23 April
This is a moving two-hander about capitalism, the American financial system, parenting, male friendship, uncertainty, and the future. The two actors in this production happen to have been college roommates, which is reflected by their easy chemistry and moments of true emotional rawness. The play is well-written, well-acted, and well-designed, with scene shifts subtly indicated by a slight change in light, a shifted position of a chair, and a few carefully crafted lines of dialog. Overall, A Case for the Existence of God is an emotionally powerful play that provides ample food for thought about what it is to live in present-day America.
Greenwich House Theatre, 18 December
This show answers the unasked question of "What would it be like if Eddie Izzard's wry and intellectual stand-up style was applied to a Victorian novel?" And the answer is that it makes a long, convoluted story accessible and digestible, just the way Dickens himself must have done on his reading tours. Izzard brings warmth, humor, and tenderness to her performance of this classic book, and she is spellbinding to watch on stage as she deploys a wondrous range of gestures and facial expressions, big and small, to bring characters to life. I was thoroughly captivated by this wonderfully nuanced and carefully crafted performance that conjures marshes, mansions, and bustling city streets out of thin air.
Longacre Theatre, 28 October
While this play doesn't quite fit with what I have come to expect from Tom Stoppard in terms of lofty and witty discourse, it does offer a tender, moving look at a Jewish family in Vienna from 1899 to 1955, and all the joys and terrors held within those years. David Krumholtz and Brandon Uranowitz both give masterful performances as two patriarchs within this sprawling family, and they are supported by a large and talented cast. Faye Castelow is another standout as the wife of Krumholtz's character. Even though the outcome of the play's story is no surprise, I still found myself moved to tears by the final act.
Soho Playhouse, 23 June
I am always in awe of a good one-man show, in which an actor can convincingly and clearly embody many different characters. It is no surprise that Drew Droege (the man who brought us Chloë) is especially adept at this theatre format. I am not especially familiar with the taxonomy of LA gays, but I still found this show to be delightful and hilarious thanks to Droege's wonderful writing and his nuanced performance.
Ellen Stewart Theater, 27 August
This entertaining and enlightening play presents four Korean folktales told by an assortment of 20th century characters at significant points throughout modern Korean history. At the end of the play, these framing stories are revealed to carry just as much weight as the folktales themselves, emphasizing the importance of storytelling within cultural identity, as well as to creating and maintaining family bonds – whatever shape those may take. Daniel K. Isaac's script masterfully moves between terror and humor, despair and hope, glamour and sacrifice.
Cherry Lane Theatre, 8 April
I love the way in which documentary plays can bring highly specific communities and cultures to life, exposing the audience to real people by way of highly skilled actors. The exceptional cast of Coal Country shines a light on the devastation that engulfed the community around West Virginia's Upper Big Branch mine after an explosion in 2010. Steve Earle' s music adds texture and grit to the show, providing moments in which the audience can absorb the potent emotions of anger, grief, fear, and love emitted by the committed actors on stage.
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