Don’t lie. We’ve all been there. We’ve all had moments where we have questioned what key historical figures were like and how major historical events could have *potentially* gone down.
When An Enemy Of The People was announced, we all knew the Jeremy Strong and Michael Imperioli led production of the Amy Herzog adapted Henrik Ibsen classic was going to be mind-blowing, but somehow expectations were shattered (an adjective fit for the climax of this revival production) when the show opened on March 18, 2024.
History danced its way onto the stage at the Belasco Theatre on December 10 when How To Dance in Ohio opened on Broadway!
Talk about wearing many hats! Rather than attempting to explain the (convoluted, yet surprisingly relevant) plot of Gutenberg! The Musical! – I’m going to give you the top 5 reasons you should shuffle on down to the James Earl Jones Theatre and say Gutentag to this unique, intentional, and zany show that’s loosely about Johannes Gutenberg and the invention of the printing press (kinda…sorta)
1.) Andrew Rannells and Josh Gad.
Need I say anymore? This super smart casting should be enough of a reason in and of itself – this is the first time the duo has been back on Broadway together since originating their Tony nominated roles of Elder Kevin Price (Rannells) and Elder Arnold Cunningham (Gad) in the 2011 original cast of The Book of Mormon. And I can confirm, Gad & Rannells are not only at their 2011 comedic finest, but they bring a matured and refined level of expertise to the roles of New Jersey best friends, Doug Simon (Rannells) and Bud Davenport (Gad). Using their impeccable comedic timing, remarkable physicality and raw talent, the duo invites and engages the audience to join them on this wild ride of a show, full of twists and turns galore.
2.) It’s giving early 2000s UCB, in the best way.
Gutenberg! The Musical! Originated in the same way that a lot of my favorite cultural highlights from the early 2000s pop culture starts – at the United Citizens Brigade. Everything about Gutenberg reeks of experimentation and abides by the ever-famous improv philosophy of “Yes, And!” – The various places that the plot goes, the use of historical fiction and 10+ roles that each actor on stage plays in the duration of one performance allows the production to own these creative choices. Whether it initially makes sense, it all calls back togethers, as any UCB show would make sure of. Since one of the show’s main themes appears to be history, here’s a brief history of Gutenberg! The Musical! The show was written by Tony nominees Scott Brown & Anthony King (Music, Lyrics, Book) and was originally a one act that premiered and was developed at the UCB there inn 2005 and then a two-act version premiered in London in 2006, followed by a production in the New York Musical Theatre Festival in 2006, followed by an Off-Broadway run later that year, where it won both Lortel & Outer Critics Awards for Best Musical. Which then brings us to our next point…
3.) Alex Timbers
It is rare that a show goes 17 years between productions and they can share the same director. Tony Winner Alex Timbers directed both the 2006 Off-Broadway production (for which, he won Best Director of a Musical at the Drama Desk Awards) and the current Broadway production. Coincidence that the Broadway production is as successful on a larger stage? We think not. Timber’s direction provides a necessary structure, but offers plenty of room for Gad and Rannells to play and bring their own personal flares to Doug and Bud (and all the other characters they take on). In short, the show is about attempting to put on a show and the choices that are made to get to the very moment that the audience is seeing. To Timbers’ credit, he clearly trusts his actors wholeheartedly and his direction allows for Gad & Rannells to shine for the choices they have the agency to make in the moment, while moving the storyline along and making it all make sense in the end.
4.) Relevance
Yes, this is a kind of show about nothing and also all the things. (Seinfeld energy, anyone?) but what might have surprised me most was its relevance to current events and themes.
Literacy and illiteracy are at the forefront of this musical. Both highlighting the importance of reading, informing oneself of secular viewpoints and world happenings – more or less, the duty to do your societal due diligence and educate yourself and others. And dually exploring the perils of a lack of education and a lack of conversation amongst generations and those with opposing viewpoints. It boils down to one of the main morals that we can all take with us – communication and education are key.
Throughout the duration of the show, another common theme that was addressed was antisemitism. And while there are jokes written satirically poking fun of antisemitism, seeing “antisemite” (who were illiterate, by the way) on one hat felt oddly, even more relevant now than when this was written in the early 2000s.
5.) You Never Know Who Your Producer May Be
Without giving away too many details, let’s just say there’s a surprise guest at the end. A magical producer, who appears just in time to miraculously save Bud and Doug’s dreams with a big Broadway contract in hand. But that savior of dreams could be anyone. The night we went, it was Steven Gutenberg (meta; I know) – you’ll just have to go to a performance of Gutenberg! The Musical! To see who yours is.
Gutenberg! The Musical! Is playing at the James Earl Jones Theatre on January 28th, 2024. Visit https://gutenbergbway.com/for more information and tickets.
Set your time machines to 2023, McFly.
Great Scott! It may not be October 26, 1985. Or November 12, 1955. Or October 21, 2015. However, the year is 2023 and Back To The Future: The Musical has time traveled its way onto Broadway.
The production flies across the pond from its 2022 Olivier Award Winning run on the West End in London, where it took home Best New Musical as well as multiple nominations across various categories.
Don’t worry, the John Rando directed musical comedy is still running in London on plutonium and positive vibes, but it’s two major stars – Tony Award Winner Roger Bart (Doc Brown) and Olivier Award Nominee Hugh Coles (George McFly) – transferred to New York with it.
And thank goodness they did because the show is worth seeing for many a reason, but those performances alone would be a compelling enough reason to buy a ticket. Bart’s Doc is a clear homage to Christopher Lloyd’s iconic character, but is played with an almost meta self awareness and sensitivity that affords Bart the ability to lean into slapstick comedy that translates well on stage and differentiates him from Lloyd. Hugh Coles’ McFly is a masterclass in the art of imitation – the physicality and vocal work is almost identical to Crispin Glover’s original character. It’s truly uncanny. Notable shout out to Liana Hunt, who showcased her range as Lorraine McFly. Casey Likes was a charming Marty McFly, Nathaniel Hackmann was a hate-able and aloof Biff, and the ensemble overall was delightful and full of energy.
Fans of the movie flock to the theatre from near and far – as seen by the sea of Marty McFly audience members dressed in an orange puffer vest, cap, and jeans – and many skeptical, or rather, curious about how true to the source material the musical adaptation would be. Like with any adaptation, there some noticeable changes to the story (book by Bob Gale, one of the creators/co-writers of the original film with Robert Zemeckis) – which made it more modern and digestible for a 2023 family audience (without giving anything away) – a lot of the subtle darkness of the film(s) disappeared – as if it was in the McFly family photo – and one could argue that those changes not only worked, but were necessary for this piece to work as a musical comedy. Musically (Music & Lyrics by Alan Silvestri) the show remains upbeat and high energy and is its own form of storytelling in the sense that the musical style for each song is telling of the timeframe we’re in. For 1985, the audience is treated to a number that sounds like an 80s pop song or a ballad with a hint of early electronica. Time travel to to 1955, we’re treated to a 50’s style number similar to the sounds of Doo-Wop or modern day, where the sound could be best described as futuristic. One thing remains for certain, the Back To The Future musical motif – the iconic one, that when you hear it, you hear mystery and adventure – weaves its way in and out throughout the duration of the 2 hour and 30 minute show. Don’t worry, The Power of Love and Johnny B. Goode make notable appearances. One of the most notable highlights was the extremely dynamic choreography (Chris Bailey), which was a vessel for physical storytelling throughout the duration of the entire show. All in all, I’m a firm believer that the changes made make sense, we may not be using hoverboards as a primary mode of transportation, but no one can deny that the world has changed a lot in nearly 40 years.
We all knew that this production was going to arrive in style (a la a 1981 DeLorean), but the design (Tim Hatley & Chris Fisher), sound (Gareth Owen), video (Finn Ross), and lighting (Tim Lutkin & Hugh Vanstone) teams on this show really worked hard to make this production immersive on a grand scale, and that is no easy task. You really have to see it for yourself, but the moment you step into the Winter Garden theatre and into your seat, you are now a passenger on what can only be described as a massive DeLorean – which means one thing – the audience is about to time travel together and becomes part of the story. Super meta, I know. That’s just the start the immersive experiences and I don’t want to give too much away, but fans of the movie will feel like they are in that barn in 1955 and in the parking lot of the Twin Pines mall in 1985, and then some. While the production is grand in scale, it’s clear that the team was also meticulous and diligent regarding details, wanting to respect the original story and honor the fans. One of the coolest elements of this production are the easter eggs they threw in from the two sequels (which, I will argue were two of the best sequels in cinematic history) which subtly tip their hats to the beloved film franchise.
My recommendation would be to get in your DeLorean and drive 88 straight to the Winter Garden Theatre for a night full of fun and nostalgia. Visit https://www.backtothefuturemusical.com/new-york/ to learn more and get tickets.
Imagine stepping off the corner of 5th avenue and stepping another foot into a totally different world. A world full of vibrant colors, as if it’s from the depths of Lewis Carroll’s imagination. Well, time to make this long, strange trip over at Wonderland Dreams, an immersive exhibit by renowned artist Alexa Meade. Here are our top 5 reasons to check out Wonderland Dreams.
Curtain up on Some Like It Hot, one of the hottest shows on Broadway this season. This fresh and exciting stage adaptation of the classic 1959 film is full of comedic perfection and strikes the right balance of pulling at the heartstrings.
It’s about damn time (s/o Lizzo and her magical James Madison flute playing ways) for a revolution, don’t you think? When the original Broadway production of 1776 premiered in 1969 and its source material – the signing of the Declaration of Independence – depict times in United States history, in which white males dominated politics, entertainment, basically everything else. Though revolutionary and dramatic for the time, the concept a revolution has certainly evolved throughout history.
Flash forward to 2022. We (the People), as a society are more secular, aware, and politically charged than ever. And though the story of the Founding Fathers and creation of America is incredibly vital in our foundation (and arguably “revolutionary” at the time) – it was long overdue for a modern day transformation.
Early on into the production, directed by Jeffrey L. Page and Diane Paulus, we get our first taste at that satisfying and edging transformation. The stage is set and the audience first meets our Founding Fathers, but this time around – the performers are of different races and identify as female, transgender, or non-binary people. Every single actor on that stage hikes up their tights and old-school white socks and that’s where the revolution begins.
With that, we were lucky enough to connect with Kristolyn Lloyd, who is currently playing John Adams in the Roundabout produced revival of 1776.
John Adams, it’s a powerhouse of a role in this show and takes on even more meaning in this production. Kicking this off with kind of an open-ended question, but how did stepping into the role feel for you!
It was a challenge! I’ve never been given the opportunity to play something of this magnitude, but I was really ready. So, it felt empowering and affirming of what I’ve experienced so far in my career. John was never a role I thought I’d play and to be honest, I didn’t know it existed, so it felt badass to just jump in a say ‘okay.’
This production is one of the most badass nights of theatre I’ve had in a long time. Can you tell us about the journey? Learning about the production, landing the role, the rehearsal process and what it’s like behind the wings every night? I’d imagine it’s electric.
I was finishing a session with my therapist where we talked about my career and me wanting a challenge and a vehicle to push me further when I saw I’d missed a call from my agent. So, I knew I had booked something because the “team” called me, and it was a straight offer for the role of John Adams on Broadway. I was stunned. When I heard the deal that came with the offer, I was even more stunned. “It operates under a LORT A contract (so, my salary would be way under commercial Broadway minimum) and you’ll be replacing the role two weeks after the show opens (something I’d never heard of) so you won’t originate.” That comes with a litany of losses for an actor. So, I knew it could be a risk career-wise to say yes to this and no to other jobs, but I really can’t stress how much I wanted the challenge. They were only asking for 3-4 months of my time and the cast looked dope, so I figured – why not! You’ve never done anything like this before, Kristolyn, and you don’t have to wear a dress or a corset.
It was a fast process because I only had three weeks to figure him and the show out. It felt a little daunting at first but, being a Capricorn, that didn’t last long. I came up with a personal plan and a set of goals for myself with the show and the role. Mostly in a rehearsal studio in Ripley with our Associate MD and Associate Director. I got a couple days here and there with Diane and Jeffrey and some with understudies and standbys. I tend to take my time developing a character even well into previews, but that was not an option here. A lot of the work was up to me. I pushed myself like I do as an athlete and had no social life. I wake up six days a week terrified and excited for the job I get to do in this show. Electric doesn’t begin to describe it.
1776. It’s not a show that’s frequently revived, but I would argue that this is the most revolutionary of productions and had many a point to prove. What do you personally think is the most revolutionary aspect of this production?
The casting. The cast is incredible on and off-stage. Truly. A remarkable group of humans who infuse me every time we are together. That’s probably why the show feels badass! I suck up their energy like a sponge and it fuels me. Their POV and lived experiences are strong and the audience can see that. We are not precious with this play/musical. We have no reason to be and therefore you are getting an unbiased performance of somewhat problematic men through the lens of some brave and wise storytellers
This show features a company entirely of women, non-binary, and trans actors. When this show took place and when it was written (unfortunately) there was virtually no representation from those communities and perspectives. How does that influence your process when performing John Adams?
Knowing he didn’t own slaves historically makes it easier to stand in his shoes, but this role is antagonistic to my soul and my ancestors. I don’t instinctively WANT to use my Black body and Black mind to tell white colonizer stories with their accents and words, but that to me is a layer of CRT (critical race theory) in and of itself that is transparently laid on top of this relic. Diane and Jeffrey were smart to keep it in the world of players stepping into these roles. It actually allows me to keep my sense of self present in the production and not feel like I have to protect John’s image. He is who he was and I’m under no obligation to make you like him. In fact, because we get to keep ourselves intact playing these roles, what you will walk away liking (selfishly) is me! Or Patrena (Murray), Liz (Mikel), Allyson (Kaye Daniel), or Sushma (Saha)… the audience walks away being moved by the performers and our interpretation. I don’t think a lot of people want to see the show any other way after seeing our production. This cast is really fucking thrilling to watch, even if you have issues with the show.
What does the word revolution mean to you in the year 2022?
This job is teaching me a lot about revolutions. I think for me in 2022 it means taking a risk while telling the truth but with grace and wisdom because the truth can be venomous enough. I take my mantle in life and art as a disrupter and truth teller very seriously. Every job I take is another addition to my lexicon of work that could be looked back on someday. So, what does it look like be the revolutionist laborer who says yes to doing a potentially problematic show, joining it in an unconventional way, on a very controversial, non-commercial contract?? Well, if I’m gonna do it, then I’m gonna do it in a way that compliments the revolution I’ve signed on to as an artist. With honesty on stage by giving a high-priced performance each night, despite my pay, while making myself available off-stage to our union to change these exploitative policies, and while still talking openly about it in order to gain/give more perspective. I always wanna lead with truth and grace because revolutions are long, and messy, and require a lot of compromise as we see in the show. It’s not any different outside of it and they hired a lot of revolutionaries in this cast! It was a risk to give us a platform, but it was a compromise for us to say yes. As Ben Franklin says in our show: “Revolutions, Mr. Dickinson, come into this world like bastard children – half improvised and half compromised.”
Is there anything that surprised you when preparing for this role and this show? Could be about anything – yourself, historical events, past productions of 1776?
Fun fact: John Adams and Thomas Jefferson were pals. Like genuine friends and eventually died on the same day in the same year forty minutes apart. I didn’t know that but have made it a point to highlight their budding friendship with the help of the stunning Elizabeth A. Davis. She was the one who told me this and, yes, she is indeed ACTUALLY pregnant. Some people think it’s a choice the show made but it wasn’t and it’s really a challenge for me not to touch her beautiful belly on stage as John Adams…ok I might’ve accidentally done it once or twice!
If you could play any other role in 1776, who would it be and why?
Rutledge. Hands down. I’m a recovering people pleaser and as such am at a point in my journey where playing the antagonist is looking like more and more fun. I would ultimately miss carrying the show though because I really do enjoy playing John Adams across from Mehry, Sara, and/or Lulu some nights. I’ve done it with three different actors in the role of Rutledge because of Covid and injuries and it’s been wildly fun! “Never a dull day over here at 1776!” has become our slogan. So, if for some reason they needed me to play another role, I would want it to be Rutledge.
The only way to do this production of 1776 “justice” is to join the revolution and check it out at the American Airlines Theatre before it closes on January 8, 2023. For more information, visit https://www.roundabouttheatre.org/get-tickets/2022-2023-season/1776/.
To start this article with the soliloquy reference, or not to start this article with the soliloquy reference, that is the question.
And because I lack total self control, I just did. But I urge you to think about what comes to mind when you think of Shakespeare’s Hamlet. For starers, THEE aforementioned soliloquy. The ghost, the haunting familial betrayal. No matter how “different” the thousands of productions of Hamlet may seem, we have yet to see a production that truly is different – in feel, tone, structure, the list goes on…until James Ijames’ Fat Ham.
Fat Ham (which won the Pulitzer Prize in drama this year) completely reimagines a Hamlet, without putting the play or complex characters in a box. The writing is ever so poignant and approach to adaptation is modern, fresh, queer, and Black and almost Freudian in certain ways – as the show feels so familiar, but so eerily and distinctly different from the original text material from centuries ago. One of the themes that becomes clear throughout the 95 minute show is that nothing is concrete and everything “kind of” still a work in progress – and that’s totally okay!
Set at a summer barbecue in current day, this co-production between The Public Theatre and the National Black Theatre (Directed by Saheem Ali, of Merry Wives) goes here, there, and everywhere while exploring themes of queerness, bravery, and questioning societal expectations. We were lucky enough to have the opportunity to chat with Marcel Spears, who plays “Juicy”, our Hamlet-esque character.
TK: We have seen so many productions attempt a “new and fresh” approach to contemporary Shakespeare, but Fat Ham feels SO different for a multitude of reasons – off the top of my head, the Black and queer stories, the layered motifs and themes, but also as different as James Ijames Pulitzer Prize winning work may be, it feels true to Shakespeare’s original work and that’s remarkable. Can you tell us a bit about your approach for mastering that fine line?
MS: I have always had a unique relationship and approach to Shakespeare mostly because when I was first introduced to the work I felt so outside of it; As a young Black actor I always felt like Shakespeare was so inaccessible, I didn’t see very many actors that looked like me doing the work locally, it wasn’t until I started formal acting training that I was able to realize that Shakespeare is full of big messy emotions, and dirty jokes, it’s just as raw and ugly and wonderfully relatable as the world we live in today. It’s for everybody. I respect the structure of the language, but I dive into the work like I do anything else; with and abundance of curiosity and empathy.
TK: Juicy is such a complex, yet relatable character. I was rooting for Juicy throughout the play, even when the unthinkable happens – my heart sank, but I still was on Juicy’s journey and that could not have happened without your remarkable ability to breathe life into the character, flaws and all. Do you feel that you are similar and/or different to Juicy in certain ways – if so, how?
MS: I always put a little of myself into the characters I play, I try to find some common threads to ground the performance. Juicy loves his mom, he’s a southern boy etc. The work of an actor early in the process is to find your characters “why” and I think that was the trickiest part for me. Juicy in someways is absolutely fearless, but in the play he kept making choices that were so different from what Marcel would do. Finding JUICY’S “why” was a lot of fun for me.
TK: And a follow up to that, what is one major takeaway that you have learned about yourself from playing Juicy? Juicy has softened me up a little.
MS: I grew up in New Orleans, it’s a beautiful city, but it’s a tough city. I was always encouraged as a young man to be strong. Because I’m Black, because I’m poor, because I am me; I was to expect the world will treat me coldly and to meet that reality with unwavering force. As much as I have matured I still held on to pieces of that upbringing. Juicy helped to shatter most of that and caused me to reflect and redefine, what can be considered strength.
TK: What was your first reaction to reading the play for the first time? Specifically the scene between Juicy & Larry. (I don’t want to spoil so I’m not getting into great detail)
MS: When I first read this play I just knew I wanted to be apart of it. I hadn’t seen anything like it, I knew it was special. Specifically that scene between Juicy and Larry which is the scene I auditioned with is one of my favorite scenes I’ve ever seen or read in all of tv/film/ and theater. I think that’s all I can say without giving it away but it’s beautiful.
TK: You all look like you’re having a BLAST on that stage, but you really trust each other to go there with these characters – can you tell me a bit about your dynamic with your castmates? Also, how do you not crack up during the karaoke scenes or Tio’s gingerbread man monologue at the end?
MS: This cast has gotten very close very quickly, in theater actors learn to make fast friends, to build chemistry as a company for the purpose of telling a story, but I think early on our director Saheem Ali was so adamant about creating a space for deep and vulnerable work it also created a very tight bond. We genuinely enjoy each others company, and we have fun together, you can see that on stage. And the truth is Chris’ as Tio isn’t the scene that is most likely to crack everyone up, that charge goes to Benja playing Rabby, she breaks everyone, I think she enjoys it.
TK: What is the main thing you would like audiences to take away from Fat Ham?
MS: I think the thing I want audiences to walk away from this play with is a sense that Joy is contagious, even in the most difficult circumstances joy is a a radical act of love and kindness. Joy is revolutionary, it is a gift, and it can change your life and the lives of people around you, like it literally changes the world of this play.
We loved sitting down with Marcel as much as we loved watching Marcel light up the stage. With brilliant performances from Nikki Crawford, Chris Herbie Holland, Billy Eugene Jones, Calvin Leon Smith, Adriana Michell, and Benja Kay Thomas – run, don’t walk to catch this hysterical and relatable show.
P.S. – trust me, you will not be disappointed with the musical performances, but let those be a surprise.
Fat Ham is playing at The Public Theatre through July 31, 2022. Learn more about the full cast, creative team, and tickets by visiting https://publictheater.org/productions/season/2122/fat-ham/
Are ya 1? Are ya 2? Are ya 3?…and the extension of the “Happy Birthday” song continues, much to the dismay of those dreading adding another year to their tally. Noah Haidle’s latest play (and Broadway debut), Birthday Candles challenges the negative connotations of the passage of time and ideas associated with getting older, as it focuses on aging as the concept of adding tools to life’s toolkit and wisdom to one’s rhetorical autobiography (and on the amount of goldfish and buttery, vanilla cake one can consume).
But truly, what’s in a lifetime? Time doesn’t end when you go to college. Time doesn’t end when you find love. Time doesn’t end if/when you get married. Time doesn’t end when you have kids, grandkids, and then on. Hell, time doesn’t end if you end a first marriage and pivot the direction of your career at age 48. If anything, time moves on and new opportunities are presented to you. The good, the bad, the beautiful, the ugly, and everything in between. Birthday Candles touches a bunch of extremely relatable themes such as mental health, questioning one’s self identity, priorities, boundaries, but most importantly (in my opinion) is that it’s never too late.
We had the remarkable opportunity to sit down with Noah and connect on Birthday Candles.
TK: Firstly, what a BRILLIANT piece of work. Congratulations! Poignant, sophisticated, yet casual, relatable, funny yet emotional. How did you go about approaching a piece that could tap into all of those emotions and more?
NH: I knew if I got this one right it could be a very effective play (as opposed to some of the plays I’ve written which have been complete shit), so I tried to approach it with great caution.
TK: Process wise, how long did this take you to write?
NH: Six years. The first word I wrote for this play was in April of 2016 and the last was a week before opening in April of 2022. With a total of just over 15,000 words, that’s like 6.8 words a day, which is pretty much as many as the list of ingredients of mayonnaise. Pretty slow.
TK: One of the things I love most about Birthday Candles is that it shows that life is not perfect, but it happens. People make mistakes. Sometimes huge mistakes, but it’s never too late to change your mind and revisit prior thoughts. Was this theme based on any event(s) in particular for you?
NH: Yes. More than I would prefer.
TK: Debra Messing. That’s it. The way she portrays Ernestine at every stage, it’s remarkable. Do you have a favorite aged Ernestine of hers?
NH: My favorite is her hunched and surly 107 year old. I don’t know if I’ll be so lucky to make it that long, but if I do, I want to be exactly like Debra’s rambunctious yet open hearted 107, including, of course Debra’s otherworldly sense of comedic timing.
TK: Bravo to you for tackling mental health, aging, divorce, illness in relatable and practical ways – what is one key takeaway you wish for audience members to take away from seeing Birthday Candles? (it can be more than one)
NH: That life is a miracle. (Might as well go big, right?)
TK: How many goldfish have you owned in your life?
NH: One. As a kid. Spot. The idea for the play began when I was telling my wife about Spot and she misinterpreted my reminiscences as an expression of deep longing to own another goldfish and surprised me with a new, unwanted goldfish for my birthday. (If you haven’t seen the play, this anecdote will mean nothing, if you haven’t seen the play, you totally should).
We loved chatting with Noah as much as we loved watching his writing play out on stage. With brilliant direction by Vivienne Benesch, this play is funny, heart-wrenching, emotional at its core – a work for all ages.
P.S. – Debra Messing is truly outstanding in this work! What she is able to accomplish in those 100 minutes is beyond impressive and worthy of a visit to the American Airlines Theatre alone.
Birthday Candles is a Roundabout Theatre Company production and runs thru May 29. You can learn more about the show and ticket information by visiting: https://www.roundabouttheatre.org/
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