Monday, April 28, 2014

Inventing Mary Martin @ The York Theater Company

 Mary Martin, famous for originating the roles of Nellie(South Pacific), Maria(The Sound of Music), Venus, and Peter Pan, had a career that spanned 40 years filled with Hollywood movies and tours overseas. Earning four Tony Awards and an Emmy in her lifetime, she famously invented herself and reinvented herself to match the needs of pop culture and was hugely respected by such composers as Rogers and Hammerstein and Cole Porter, and beloved by audiences all over the world.

 This revue honors her achievements with stunning performances by Emily Skinner, Lynne Halliday, Cameron Adams, and hilariously narrated by Jason Graae. A show filled with laughter, it is unafraid to dig up the flops of Martin's career as well as the achievements, poking light hearted fun at her earlier disappointments reminding the audience that she too as human, while at the same time boasting of her talent by pointing out that Martin beat out Ethel Merman for a Tony.

   Emily Skinner(Tony nominee) is enchanting, representing the sensual nature of Mary, her voice consistently draws you in and keeps you on the edge of your seat. Young, peppy Cameron Adams, brings Mary's youth to life with her lilting soprano voice and sweet, yet spunky demeanor. Lynne Halliday, is graceful, creating the illusion of old Hollywood glamour. Together, these women weave Mary's story.

   Jason Graae, the narrator and host of what can only be called a party, is both comic relief and responsible for moving the storyline along. Representing as many males as he needs to, his shining comedic moment was actually reenacting Mary's "Women's Fashion in 50 years." To the direction of an off-stage voice, Graae races through 50 years of women's fashions, complete with heels and hats galore - absolutely the funniest moment in the show.

   Written and directed by Stephen Cole and co-directed and choreographed by Bob Richard, Inventing Mary Martin is quite obviously a labor of love and the admiration for the woman is apparent in the show. While the script can be somewhat lagging at times, the numbers are beautiful, and the cast incredibly talented.

  Inventing Mary Martin opened at the York Theatre, April 27th and will be playing through May 25th, be sure to get your tickets here!

Review By: Aziza Seven
Photos By: Jenny Anderson

Friday, April 25, 2014

Casa Valentina @ The Samuel J Friedman Theatre

    How does one create a riveting story about discrimination in the gender fluid world while still creating an empathetic audience? By telling the truth of course. Casa Valentina explores this world in its infancy, taking the audience on an incredibly insightful journey fill with laughter and poignancy. 
In 1962, there was a resort where men could gather together and don the feminine identity in privacy and acceptance. When sorority leader Charlotte, asks the ladies to sign away their anonymity in order to register with the government and become legalized members of society, able to live freely as cross-dressing men, the ladies balk unwilling to give up their privacy or sign the affidavit claiming they are not “disgusting homosexuals.” Her presence creates a storm that no one could see coming, forcing the ladies to explore themselves and in Valentina/George’s case, his/her perfectly not-normal relationship with his/her supportive wife and fellow resort owner, Rita. 

   Mare Winningham(Rita) does a stellar job. As one of only two affectionately called GG’s(genuine girls) onstage, Mare delivers a poignant role as the wife of a transvestite. Delivering one liner quips with ease, she caused as much laughter as she did sighs of sympathy during her more serious moments thinking of the life she had walked into “eyes open.” Patrick Page(George/Valentina) is alternately gentlemanly and ladylike, his dual personalities as separate as they are cohesive. His legs alone were enough to make the ladies in the theatre jealous! Tom McGowan(Bessie) was the comedic relief. With enough personality to match his name, Tom creates a larger than life role not to be dismissed but rather savored. Larry Pine(The Judge/Rita) probably had the most heartbreaking scene in the entire play. Without saying a word, he conveyed more feeling than a monologue could ever. There was not a single person in the audience who didn’t feel as if their heart wouldn’t break during his performance. 

Nick Westrate(Gloria) was feminine, haughty, and sexy. His compassionate speeches were as real as he was. Gabriel Ebert(Jonathan/Miranda) was the epitome of innocence. Girlish as Miranda, hopelessly foolish and sweet as Jonathan, he created the blossoming debutante role effortlessly. John Cullum(Terry) was the voice of reason in the play. His insight provided the looking glass for Valentina to observe her hypocrisy. Lisa Emery(Eleanor) was only onstage for a moment but she was the catalyst in the second act. The daughter of Amy/The Judge, she confronted the seemingly perfect couple Rita and George on all the questions they had smoothed over, forcing them to see things they perhaps had been ignoring in their relationship. And last, but certainly not least Reed Birney(Charlotte) was riveting. His performance was spot on, from the way he held his hands, to how he stood, his speech, all reminded me achingly of my grandmother. Desperate for recognition by the society that shunned her, Charlotte was perhaps the perfect villain zealot, preaching discrimination against homosexuals in order to gain acceptance as a straight male transvestite. 

    Written by Harvey Firstien and directed by Joe Mantello, Casa Valentina explores the ideology of American society and the ease in which it discriminates against every type of individual. Promoting acceptance of gender fluidity and uniqueness in all its forms without shoving it down your throat, you cannot help but leave the theatre better informed and more empathetic to all types. 

Casa Valentina opened at The Samuel J. Friedman Theatre opened April 2014 and runs through June 15th. Get your tickets here!

Review By: Aziza Seven
Photos By: Sara Krulwich

Tuesday, April 22, 2014

The Velocity of Autumn @ The Booth Theater

Growing old is never easy. It doesn’t get easier when your aging mother locks herself in her house and threatens to burn it the ground since your siblings won’t leave her alone. That is the essence of the story one can expect when stepping into The Booth Theatre on Broadway to experience the brand new play, The Velocity of Autumn now in performances.

Written by Eric Coble, the story profiles an aging woman Alexandra who has locked herself inside her brown stone in Park Slope and is threatening to burn the place down if her two children don’t leave her alone and let her be. It is only when a surprise appearance by her third child occurs, literally surprising her as he climbs into the second story of her house, that things begin to shift. Her son, Chris, sits down and talks with her. He doesn’t have to plead with her because before he knows it, which comes out of their conversations in which he has with her simply catching up on all he has missed since he has been gone.

Estelle Parsons stars as Alexandra in the new piece and delivers a stirring performance as the aging mother of three. Parsons brings to life a character many audience members instantly connect with from their own lives. She delivers several emotional monologues including one about losing herself as she ages, which really connects with the audience. As the play goes on, she not only finds herself more vulnerable but also leaves the audience more vulnerable a well. Through her, we better understand our role as caretakers to those in our lives who we help. We realize we must not talk down or belittle their actions as they already doing it themselves constantly. I feel confident in saying; this piece would not be possible without Parsons at the helm.

Stephen Spinella stars as Chris in the production and gives Parsons a run for her money delivering an equally as impressive performance. Spinella connects to many of the audience members who are also taking care of their parents and channels the emotions and actions many of us have taken with those we deem older. However, Spinella’s connection to his mother is one of a kind. He not only channels a person we all are at times but shows us how easily we can change the way we handle situations simply by switching how we look at it. Much like Parsons, he delivers several beautiful monologues about life and also has a few hilarious New York jokes you can’t help but crack up over. He is definitely not overshadowed by Parsons performance and is a great actor to play such a role.

As for the technical elements of the production, there is a unit set apartment, designed by Eugene Lee, which is capped off by a giant, beautiful tree just outside the residence. I won’t give away the symbolism in it but I will add there is some fantastic lighting as the day progresses designed by Rui Rita.

I feel like my lack of a recommendation to run to see The Velocity of Autumn comes from my lack of experience in such a situation as the play puts forth. However, it did connect with an overwhelming amount of the audience who left buzzing regarding their similar situations to the play they just witnessed. And while I can’t say I connected with The Velocity of Autumn at this point in my life personally, I can say that when that time comes, I feel as though I will be able to better approach said situation having seen this piece.

Review By: Chris Luner

Photos By: Joan Marcus

Monday, April 21, 2014

The Cripple of Inishmaan @ The Cort Theater

Off the west coast of Ireland lies the tiny island of Inishmaan - an island where the most exciting news is that of lost cats and general petty gossip. That is until its heard from the mainland that Hollywood has come to film their lovely little homeland as well as take one lucky individual back to America to be the star of that fine film - sending the tiny little village into a tizzy, including Billy Claven, a young crippled man whose dreams of getting off the island are about to take him on an adventure much bigger than Tinsel Town.

Daniel Radcliffe portrays the character of Billy, a young crippled man this ridiculed by his peers and coddled by his two adoptive aunts.. Radcliffe masters not only the physicality of Billy Claven, but the emotional struggle of a man with the fiery passion wanting to make his way in the world, caged within his own limitations and those that others have locked him behind as well. Radcliffe approaches this role with a sensitivity that encompasses the heart of Billy’s pain as well as his drive for the experiences of life.

Other notable performances are that of Ingrid Craigie and Gillian Hanna, who have a delightful rapport playing the two worrisome aunties that have a lovely balance of humor and benevolence; Sarah Greene whose performance of Helen McCormick, a tyrannical spitfire, that the audience cannot help but love and hate equally.

Martin McDonagh once again successfully creates a dark comedy that captures dry wit that dances a lovely line of being grimly satiric and wistfully poignant. With numerous awards and nominations for his other works - including The Laurence Olivier and The Drama Desk Award - McDonagh has created another masterpiece for modern theatre, but make it a must see this season on Broadway.

The Cripple of Inishmaan opened at the Cort Theater on Sunday April 20th, 2014 and runs a strictly limited engagement through Friday June 20th, 2014.

Review By: Sarah Hogan-DePaul

Photos By: Johan Persson

Sunday, April 20, 2014

Lady Day at Emerson Bar and Grill @ The Circle in the Square Theater

You may have thought you missed your chance to see the legendary Billie Holiday perform live, but her voice and spirit are brought to life through the extraordinary gifts of Audra McDonald in Lady Day at Emerson Bar and Grill.

Five-time Tony Award-winner Audra McDonald returns to Broadway to take on the role of the legendary Billie Holiday in the Broadway premiere of Lanie Robertson's Lady Day at Emerson's Bar & Grill, recounting Holiday's life story through the songs that made her famous, including"God Bless the Child", "What a Little Moonlight Can Do", "Strange Fruit" and "Taint Nobody's Bis-ness". In 1959, Holiday puts on a show in a small intimate bar in Philadelphia that unbeknownst to the audience, will leave them witness to one of the last performances of her lifetime. Through her poignant voice, one of tthe greatest jazz singers of all-time shares personal tales of difficult choice, bad breaks, worse men and some of the most glorious songs ever written.  

Entering through the theater doors of Circle in the Square you are transported back to 1959 south Philadelphia inside Emersons Bar and Grill thanks to the simple scenic design by James Noone. A jazz trio sets the mood as drinks are poured to a few patrons seated at cocktail tables on the floor below the stage. A light veil of smoke dances against the ambient blue lighting filling the room. Soon Billie Holiday (Audra McDonald) enters and takes the stage.

To say that McDonald embraces the essence of Lady Day is an understatement. If you are familiar with McDonald's gorgeous voice and elegant stage presence, you will not recognize her in this role; McDonald disappears and Holiday is materialized. Close your eyes and you hear the haunting and unmistakable voice of Billie Holiday. Gazing at McDonald in a white strapless gown (a Billie Holiday classic look) by Esosa, it is sometimes necessary to remind yourself that Miss Holiday herself is not standing in front of you. Look at her closely and it is impossible to find any reminents of Audra. Everything from her posture, to her cloudy speech to her drooping eyes is wrapped and delivered to the audience as the most authentic depiction of Billie Holiday with ease. This may easily be some of the best acting Broadway has ever seen.

Lanie Robertson's book is heartbreaking while offering some smiles along the way. It is an honest form of storytelling that allows the audience to see Holiday through a transparent magnifying glass, enhanced by the casual direction of Lonny Price. Robert Wierzel's lighting design enhances the emotional journey of the storyline, often using the stark white dress McDonald is wearing as a canvas to paint on. Tim Weil's stylistic lounge-like  orchestrations are performed flawlessly by conductor/pianist Shelton Becton (also appearing as Jimmy Powers), Clayton Craddock on drums and George Farmer on bass. If you love live jazz music you will adore the sights and sounds of Emerson's Bar and Grill.

Lady Day at Emerson's Bar and Grill will captivate you with it's classic music, aching story and authentic delivery. Make sure you see it - this one could be Miss McDonald's 6th Tony!.

Review By: Staci Morin
Photos By: Evgenia Eliseeva & Picasa

Wednesday, April 16, 2014

Of Mice and Men @ The Longacre Theater

Of Mice and Men, the classic tale by John Steinbeck, finds new life on Broadway through the powerful performances of Chris O’Dowd and James Franco.  A tragic tale of love and friendship, Of Mice and Men tells the story of George and Lenny, two farm workers who travel together from job to job.  George, a smart and empathetic figure, takes care of Lenny wherever they go.  Lenny, who’s imposing physical stature juxtaposes his mentally disabled, is George’s companion and one true friend.  Together they move across California during the great depression to try and stake a claim to land that they can call their own.  Of Mice and Men tells the tale of their final job together, at a ranch in the Salinas Valley of California.
Franco and O’Dowd masterfully deliver the pain of this story straight to our hearts.  O’Dowd’s Lenny is sweet and childlike, delivering all of the innocence that makes it obvious why George would stay right to the very end.  Franco, for his part as George, is the perfect loving and firm parent that we can hope for Lenny.  Together, the pair brings us closer and closer to the tragic end that they themselves are even expecting.  But all the preparation in the world would not make this any easier.  Individually, O’Dowd and Franco’s performances are excellent.  As a pair, they are incandescent.  Their on stage affection for each other enhances Steinbeck’s already strongly written brother-like bond of George and Lenny.
Franco and O’Dowd are helped in no small part by the supporting cast.  Candy, played by Jim Norton, is immediately given our sympathy.  Norton’s performance is honest, easily winning the audience over from his first moment on stage.  Ron Cephas Jones’ Crooks is cranky and bitter, excellent executed.  Slim, played by Jim Parrack, is smooth and comfortable, completely at home on the stage.
Anna Shapiro’s direction is gives a casual and homey feel to the production.  With the exception of the out of place, pseudo artsy ending, the piece feels very organic.  Todd Rosenthal’s set brings the novella to beautiful life.  The detail wrought on the stage brings us instantly into every character’s life deep in the wild America of the 30s.  David Singer’s music completes the perfect picture.
The two and a half hour show flew by in the blink of an eye and ended with the audience tearfully on their feet.  You should not miss this limited engagement.

Review By: Paul Morin

Photos By: Richard Phibbs

Friday, April 11, 2014

The Threepenny Opera @ The Linda Gross Theater

The dark dynamic duo has found a new home this spring at the Linda Gross Theater.  Of course I am talking about the gloomy combination of Bertolt Brecht and Kurt Weill with their classic work, The Threepenny Opera.
The Atlantic Theater Company has done Brecht proud.  Martha Clarke’s gritty, in your face production often leaves the audience feeling scolded and uncomfortable, something Brecht often seems to hope for in his pieces.  The staging brings the right balance of operatic and theatrical styles, indicative of the work’s place as a historically transitional piece of theater.  Though the ending was delivered perhaps with more loving optimism and reform than Brecht intended; the overall feel of the story maintained his disdain for class separation.  Also, the addition and redistribution of musical numbers allowed for some extra character exposition, strengthening the audience’s bond with the story.
Michael Park’s Macheath was a perfect blend of class and swine.  With the exception of a few angry outbursts that lacked honesty, his delivery was smooth and redeeming even as he twisted the knife.
Macheath’s ladies, however, were the real show stealers.  Jenny, passionately played by Sally Murphy, delivers all of her songs with brilliant conviction and is a wonderful contrast to Park’s cool demeanor.  Laura Osnes' vocals in her portrayal of Polly Peachum are a beautiful blend of modern theater and classic opera sound, further solidifying the transitional feel of the work. Lilli Copper as Lucy Brown along with Osnes, are comic gold in their duet.  Copper plays the comedy of the jaded lover wonderfully.  F. Murray Abraham and Mary Beth Peil as Mr. and Mrs. Peachum are both solid musically and have a brilliant definition to their characters but lacked the precise timing needed to successfully pull of Brechts sarcastic humor.
The lighting was very interesting at times but often confused or drew attention from the action at hand.  As a scenic touch, having the characters carry candelabras while changing sets was visually pleasing but pulled the focus from the main action on stage.  The use of shadows to enhance the size of the crowds was an interesting idea, though in execution caused distraction more than atmosphere.
The set stayed simple but useful throughout.  The orchestra deserves an extra commendation for its dual roles of music and atmosphere, both skillfully and tastefully delivered.
All in all, a thoroughly classic rendition of The Threepenny Opera with a few minor twists and turns along the way.  If Brecht and Weill are an unknown to you, this production is a great place to start.

Review By: Paul Morin

Photos By: Kevin Thomas Garcia

Thursday, April 10, 2014

The Realistic Joneses @ The Lyceum Theater

Playwright Will Eno looks at people's interaction and what our conversations reveal not only about us — but human existence as well. The Realistic Joneses is packed tight with Broadways most anticipated and starred studded cast: Toni Collette, Michael C. Hall, Tracy Letts and Marisa Tomei.

In The Realistic Joneses, we meet Bob and Jennifer and their new neighbors, John and Pony, two suburban couples who have even more in common than their identical homes and their shared last names. As their relationships begin to irrevocably intertwine, the Joneses must decide between their idyllic fantasies and their imperfect realities.

Eno's dark comedy takes a while to warm up to the audience, all the action sneaks up on us and then jumps out from behind then corner and drags us along a highly emotional, quick witted and thought provoking journey. This truly ensemble piece could easily fall apart if one of the four actors were to fall short but it wasn't the case here. Toni Collette is warm, snarky and shuttered, she brings a mysterious quality to Jennifer that makes the audience want to dig deeper. Tracy Letts is pretty much playing the same character he won his 2013 Tony Award for, luckily for him it worked out in his favor. Marisa Tomei is bubbly, frantic and dim witted; Tomei brought a smile to the audiences faces, even in the darkest moments in the show. Lastly, Michael C. Hall in this critics opinion is the driving force and show stealer. It was truly amazing watching him portray John as we watch his psyche decline and deteriorate.

The production will be directed by Obie Award-winner Sam Gold, who recently received critical acclaim for his production of Fun Home at the Public Theater. The show features the scenic design by David Zinn, which consisted of a black wall, a sliding door and some outdoor trees, leaving the whole experience incomplete. The sound and lighting by Mark Barton and Leon Rothenberg worked very well together to create a daunting atmosphere that didn't seem to belong with this show.

The Realistic Joneses officially opened night on Sunday, April 6th, 2014, at the Lyceum Theatre and will play through Friday June 6th, 2014.

Review By: James Russo

Photos By: Joan Marcus

Monday, April 7, 2014

The Speakeasy Dollhouse: The Brother's Booth @ The Players Club


   Ushered into the back alleyway situation somewhere in the lower east side of Manhattan, an audience is beckoned quietly up a rickety staircase to The Speakeasy Dollhouse: The Brothers Booth. The 20’s have just begun, prohibition is newly underway, and sin and debauchery run the local speakeasies. Audience members are encouraged to dress up and are handed small cards upon entering with special instructions for them to follow throughout the night as they enter interactive theatre. 
   The plot, while thin, is enough to captivate. What happened the night Abraham Lincoln was killed? Did John Wilkes Booth really die that night? Why would he shoot a man his brother had respected and had even become somewhat close to after saving Lincoln’s son from a would be fatal train accident? How did renowned actor, Edwin Booth react to the news? All of these questions and more are explored and not actually answered during this night of debauchery and mayhem. 
Audience members are encouraged to explore the many rooms of the The Player House and find out for themselves what the mystery will reveal. Throughout the home are a host of characters that reveal more of the storyline before the end is climaxed in the main ballroom. Dancing girls, burlesque, a brass band, seances, and the odd Shakespeare monologue fill in the gaps between the two main theatrical moments for two hours of fun. 
   Performing onstage with a clear separation between the audience and the cast is difficult enough, but throwing a party and performing sword fights and emotion filled scenes with an audience that is literally touching you takes an enormous amount of energy and this cast tackled it with aplomb. 
   Created by Cynthia von Buhler and directed by Wes Granton, The Speakeasy Dollhouse is a magical experience that provides everything an audience could wish for. Cast of the show is as follows: Eric Gravez(Edwin Booth), Ryan Wesen(John Wilkes Booth), William Otterson(Junius Brutus Booth), Skylar Max Gallum(Young, John Wilkes Booth), Jonas Barranca(Young Edwin Booth), Samantha Rosentrater(Edwina Booth Grossmna), Victor Barranca(Edmond Quinn), Dan Olson(Henry James), Chrissy Basham(Opal Jones), Russel Farhang(John Drew), Tansy(The Hostess), E. James Ford(John Singer Sargent), Lord Kat(Mark Twain), Katelan Foisy(Violet James), Justin Moore(Officer Crane), Jennie Harder(Annie Hines), Allen Wilcox)Howard Kyle), Silent James(Himself), Travis Moore(Benjamin Crane), Natalie Rich(Georgina Rich), Chris Fink(Guy Nichols), Daniel Burns(Newsboy), Taxi Dancers: Hannah Rose, Sarah Vogt, Alexandra Kopko, Ashley Grombol, and Laura Epperson, Puppeteers: Erin Orr and Stacee Mandeville, featuring the burlesque skills of Deylsia La Chatte, and music provided by Grandpa Mullelman and his Syncopaters. 

Be aware, this is a 21 and older event so leave the kids at home! It only runs for five more Saturdays so get your tickets while you still can!

Review By: Aziza Seven

Sunday, April 6, 2014

A Raisin in the Sun @ The Ethel Barrymore Theatre

What happens to a dream deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore-
And then run?

These are the first few lines of Langston Hughes haunting poem "A Dream Deferred" that are draped over the stage at the opening of A Raisin in the Sun. A recording of a Lorraine Hansberry interview is ghosted though out the house - her words muffled and lost amongst the buzz of the audience, a phrase or two about her work sprout up here and there, setting the subtle and brilliant tone of this American classic.

Under the direction of Kenny Leon, who has received several Tony nominations for previous works including Best Revival of his 2004 production of Raisin in the Sun, shows not only his thorough understanding of Hansberry's work, but the thoughtfulness and value it has upon the generations of today's society. Along with the brilliant incite of Set Designer, Mark Thompson, the two create a cage of glue worn, jungle inspired wall paper – the backdrop of the famous alcohol crazed monologue, turbulently delivered by Denzel Washington – to boarder the saccharin yet stained, honey comb patterned kitchen that holds the action together.

This muted and crumbling background only magnifies the intensity in the performances of the entire cast. Denzel Washington captures the unrest and discontent of Walter Lee Young in mesmeric proportions – encapsulating the quiet rage of a man suffocating under “the glass ceiling” Pre-Civil Rights movement. Latanya Richardson Jackson is outstanding as Lena Younger with a comedic sass and queen bee authority for this idyllic matriarch. Yet the most impressive performances within the show were that of Sophie Okonedo and Anika Noni. Okonedo captivates the audience with her portrayal of Ruth Younger, a woman desperate to keep the few threads of married life and family together, while Noni shines in the role of Beneatha Younger, the sprightly and opinionated young adult thriving with the potential of what her generation could possibly bring.

With standing ovation, Raisin in the Sun is performing at the Ethel Barrymore Theatre, from now till June 15th.

Review By: Sarah Hogan-DePaul
Photos By: Sara Krulwich

Friday, April 4, 2014

Mothers and Sons @ The John Golden Theater

Mothers and Sons, the new play by 4-time Tony Award® winner Terrence McNally, is a timely and provocative new play that explores our evolving understanding of family in today’s world. At turns funny and powerful, Mothers and Sons follows a woman (Daly) who pays an unexpected visit to the New York apartment of her late son's ex-partner (Weller), who is now married to another man (Steggert) and has a young son. Challenged to face how society has changed around her, generations collide as she revisits the past and discovers a new connection she never expected.

Tyne Daly stars as Katherine, the mother of her lost son just trying to look for answers. Daly is incredible. There is nothing more to be said other than this is her finest work to date. Frederick Weller is heartwarming. Bobby Seggert is vicious and loving. Grayson Taylor is making his Broadway debut, and he comes out swinging. After originating the role, Taylor brings his a refreshing innocence to Bud. He is a great looking glass to what is yet to come! Overall this cast get a much deserved standing ovation.

The design team for Mothers and Sons includes scenic design by John Lee Beatty, costume design by Jess Goldstein, lighting design by Jeff Croiter, and sound design by Nevin Steinberg. Terrence McNally delivers a play that will truly draw you to tears, the only complaint is that it left the audience wanting more. The ending seemed abrupt and could have been stretch out longer to get a better conclusion. 

Mothers and Sons had its world premiere production at Bucks County Playhouse on June 13, 2013. It opened on Broadway on Monday, March 24th, 2014.

Review By: James Russo

Photos By: Joan Marcus