A provocative blend of humor and history that challenges and delights in equal measure.
On January 6, 2024, the Ethel Barrymore Theatre presented the musical Harmony. Bruce Sussman wrote the lyrics and book while Barry Manilow composed the music.
History danced its way onto the stage at the Belasco Theatre on December 10 when How To Dance in Ohio opened on Broadway!
The magic is back.
There have been dozens of parodies of the story of King Arthur. However, “Spamalot” stands as one of the most unique due to its comedic nature and its downright absurdity.
Based on the 1975 film “Monty Python and the Holy Grail,” the musical has been brought to life multiple times over the years since its debut in 2004. Now, after almost twenty years, the musical is back on Broadway with a star studded cast, and an updated script that truly does the original material justice.
Director John Rhodes is truly at the center of this revival. Each staging and performance aspect is a remarkable choice that leverages the entire story in general. From the first moment the curtain opens, the audience is taken into the realm of Camelot through the assistance of the Historian (Ethan Slater). Irony is strong along with a major amount of symbolism and analogies in the plot. One enjoyable aspect of this revival is its nods to current pop culture. The musical tries to stay relevant by referencing some of the biggest headlines, products, and people of 2023 which added greatly to the humor.
“Spamalot” is filled with exceptional performances. Each actor brings their unique comedic timing and talent to the stage, capturing the essence of the beloved King Arthur characters. James Monroe Iglehart is the perfect King Arthur. His portrayal of a “narcissist” king is magnificent. Each scene and song number featuring King Arthur is witty. Leslie Rodriguez Kritzer as The Lady of the Lake is one of the brightest performances of the show. Kritzer uses improv unlike any other cast member in the show. It added an element of spontaneity that resulted in many memorable moments. In all honesty, this production has a solid cast. The entire cast, which includes Taran Killam, Michael Urie, Nik Walker, and Ethan Slater, exudes a spirit of determination that would enable them to effectively create a fantastic production even if there was an absence of a solid script or director. It is evidence of the collective skill of all the entire production.
Overall, the set design was quite enjoyable to view. It bore a campy vibe while emulating 5th century architecture. The costumes are intricately designed, fully bringing life to each character even more. However, the entire show’s musical core occasionally lacked impact. Even if there are several witty numbers and humorous tunes, the overall musicality and choreography missed a sense of allure. Kritzer is possibly the most striking performer. But given that the sarcastic lyrics are supposed to be the main attraction, it’s understandable that the musical quality would be less important than the entire presentation.
The second act was another area where the production fell a bit flat. The tale is set up quite well in the first act, but there is a lack of coherence in the second act when the knights are divided. Although their attempt to reconcile is believable, the second act devolves into unimportant subplots that ultimately added nothing to the production. This small criticism, nonetheless, does not take away from the musical’s overall genius.
There is a noticeable focus on maintaining the essence of the Monty Python classic throughout this entire production. The musical truly lives up to to it’s source material while also making room for modern elements. The cast is strong, while the creative aspects of this production flourish. Though there are moments when the second act lags, overall it’s a wonderful experience fit for a king.
Tickets to “Spamalot” are available now. The play is now running at the St. James Theatre
“I Need That” is a work that takes its title literally.
Directed by Moritz von Stuelpnagel and written by Theresa Rebeck, the Roundabout Theatre production is a new play that stars the immensely talented Danny DeVito, Lucy DeVito, and Ray Anthony Thomas. The play follows a widower named Sam with an addition to hoarding. He refuses to fix his problem until his home becomes at risk of being demolished. With the help of his friend Foster (Thomas) and his daughter Amelia (DeVito), Sam learns that there’s value in the things around him, but he must let them go to move forward with his life.
As the narrative begins, we are immediately thrown into Sam’s world of chaos. Items spanning decades consume his house. There’s books, newspapers, games, clothing items. You name it, the house has it. The beauty of this production is that although there’s so much on stage, the character’s actions and feelings aren’t overshadowed. We understand that these items aren’t any more valuable than Sam, and even more we come to understand these items are a response to grief. It is revealed early on that Sam has lost his wife years prior. As we witness Sam explain why he keeps the items, there’s a sense of sadness masked behind delusion ad fear. The portrayal of hoarding as a result of emotional trauma was examined flawlessly.
Furthermore, the relationship between the three characters was refreshing to watch. They rely on each other heavily, but over the course of the narrative gain some independence. This especially goes for Amelia. Her role was always to be her father’s caretaker and the audience views how this unfortunately leads to a bit of resentment of both of their parts. However, she watches as her father transforms both his home and his mindset, and she becomes less inclined to worry about him. The two additionally learn that they’re not as different as they seem. Both are still grieving over the loss of their loved one. This shared journey is accumulated in cleaning the house which acts almost a a device of reconciliation.
The play explores human connection and empathy brilliantly. Foster acts as a guardian for Sam. He offers support and assistance where needed and he never bares immense judgment of how Sam lives. The two even bond over their shared experience as old men who seem alone in the world. Moreover, the choice of how their relationship shifts in the climax of the play was wisely done. Foster betrays Sam, but the latter learns to forgive him almost instantly. And even with this betrayal, you can’t be angered by Foster’s actions. Sam knows he can’t survive without Foster and vice versa. This codependency made the story even more heartbreaking. In the end, both men find strength and healing through their shared experiences. This strength allows them to live their lives separtely, but their brotherhood lives symbolically through a guitar.
Danny DeVito truly shines as Sam. No other actor can invoke a sense of raw sorrow while also making an audience laugh as he does. DeVito’s portrayal is uniquely him, and that is what makes the production so special. It felt as though this role was crafted for him. And with his daughter Lucy as Amelia, it’s even more apparent. Both have a recognizable chemistry that is a no brainer. Adding in Thomas makes them a perfect unit.
In terms of aesthetics, “I Need That” is visually strong. The set design nails the essence of the chaos and clutter of a hoarder’s home which greatly reflects the inner turmoil. Additionally, when certain items are highlighted in the show, you can’t seem to forget them. Your eyes tend to wander to see if they’re still in their spot, and they are. There’s a great amount of consideration for how hoarders are able to accumulate items. Everything is woven together, and “I Need That” reflects heavily on that sentiment. The lighting was another major key to the story. Low dims and striking balances of colors for certain scenes enhanced the overall emotional impact. It wasn’t only the performances you were moved by, but the entire creative direction of the show.
The most beautiful part of “I Need That” is that Sam’s stuff is not matter, but memory. For example, a board game holds the memory of his late wife. It’s not just in this board game, but every object that surrounds him. Sam learns though her memory is not only in material things, but in Lucy as well. It’s this revelation that allows him to finally take back his life, and step outside. This play is an emotional tale that reminds us that trauma manifests itself in different ways. A lesson we can learn from this is to always lead with empathy.
Tickets to “I Need That” are available now. The play is now running at the American Airlines Theatre
Rebecca Miller established the grassroots, non-profit Arthur Miller Foundation in remembrance of her father’s legacy. AMF helps teachers create sustainable theater programs by providing them with robust, customized resources, training, and certification. This ensures that all public school kids have fair access to high-quality theater instruction. The premier yearly fundraising event for the Arthur Miller Foundation, held in collaboration with the NYC Public Schools, The City College of New York, and Bridgeport Public Schools, is the Arthur Miller Foundation Honors.
The Arthur Miller Foundation hosted their 5th annual Honors event on Monday, November 6 at City Winery. The event was hosted by “Purlie Victorious” co-stars Leslie Odom Jr. and Kara Young.
Pulitzer Prize winner Martyna Majok was honored with the AMF Legacy Award. Majoke is best known for her piece “Cost of Living” which explores two relationships between able-bodied and non-abled body people.
Jerre and Mary Joy Stead received the AMF Humanitarian Award for their endless donations to arts education in schools across the country.
New York City public school Theater teacher Talia Jaime was awarded with the AMF Excellence in Arts Education Award for her work at Renaissance High School.
Performers of the night included Brian d’Arcy James, Justin David Sullivan, Phillippe Arroyo, Samantha Williams, and Jordan Donica.
On November SIXth, the Museum of Broadway officially opened its special exhibit, “SIX: The Royal Gallery,” honoring Toby Marlow and Lucy Moss’s esteemed show, SIX The Musical.
Writer Qui Nguyen’s play “Vietgone” is the “slightly” true story about his parents meeting in a Vietnamese refugee camp in Arkansas. They have a multitude of factors against them from his father already being married and his mother failing to become accustomed to her new life in the U.S.
“Vietgone” is the first part of their story.
“Poor Yella Rednecks” completes it.
This show follows Tong (Maureen Sebastian) and Quang (Ben Levin) attempting to put down roots in Arkansas. Things don’t come easy for them as infinitely, racism, and poverty begin to immerse their life. However, the couple, their son, and Tong’s overbearing mother Huong (Samantha Quan) learn a few lessons along the way that assist them in growing as a family.
Qui Nguyen is best known for his work with Disney as both a writer on “Raya and the Last Dragon” and “Strange World”. Based on this, his love of fantasy and pop culture flourish in his theater works. For example, in the beginning of the play, the Playwright (Jon Norman Schneider) passes the reins to the greatest storyteller of all time for the introduction—Stan Lee. Nguyen creates a script and story that is not only filled with humorous references to pop culture, but with salacious and witty dialogue. A few minutes into the play, an elder Tong informs her son she wants him to write her words in the same cadence as white people. As he types, her Vietnamese accent is suppressed by a valley girl accent and a great amount of cursing.
The comedic elements of the play are truly unique. It’s not only the wording, but also the actions of the ensemble. Nguyen uses rapping to convey the feels of multiple characters. It could be viewed as an absurd choice to some, however, the direction to include rapping is brilliant. In the beginning of the story, Tong tells the Playwright that she wants him to write something that white people will enjoy. When thinking about theater these past few years, many immediately think of the legacy that Hamilton has left to where rapping can be considered an art form within theater. However, one would be surprised to find that not all musicals have rapping in them especially older white people who are Broadway’s biggest fans.
Nguyen’s uses of satire and absurdity are another aspect to the production’s brilliance. Little Man is voiced by the Playwright, but a puppet is used as his body. There are a number of fight scenes inspired by anime paired with the use of dramatic music to where scenes feel ridiculous. One would even begin to question what’s going on; and that is exactly where the charism of the production lies. Director May Adrales lets the audience feel as though they’re trapped by oddity, but deep down the production reveals harsh truths.
Maureen Sebastian, Samantha Quan, a puppet, and his puppeteer, Jon Norman Schneider in “Poor Yella Rednecks”
A major theme that Nguyen nails perfectly in the production is assimilation. Little Man struggles to learn English and one of the most touching scenes is the one in which Huong tells him that she is willing to not speak to him so that he can learn English. She accepts that for him to have a normal childhood, she has to distance herself. Furthermore, the switching of languages and refusal to put a Vietnamese accent on the characters is another way in which assimilation is shown. While it may be considered a satirical choice, unfortunately it goes to show how for the most part immigrants have to dial back on their native language to be accepted into society. It’s a hard truth that carries the entire play.
The cast’s chemistry is magnificent. There’s such great tension between Sebastian and Levin as the couple that one doesn’t have to imagine them as struggling pair, you simply feel it. Quan plays a wise, and oftentimes harsh Huong. Huong is sure to be a fan favorite amongst audience goers. However, we can’t forget about Paco Tolson as Bobby, Tong’s on-and-off boyfriend. Bobby’s timidness and genuine curiosity made for some of the greatest running jokes of the entire production. Overall, each cast member accomplishes playing off one another’s strengths. You’d often desire to see the characters again once they are off stage.
Jon Norman Schneider, a puppet, and Ben Levin in “Poor Yella Rednecks”
The scenic design of “Poor Yella Rednecks” is another remarkable aspect of the play. Tim Mackabe’s use of giant yellow letters spelling out “YELLA” not only added to the visual impact, but served as a clever mechanism for scene transitions. Each letter became a transformative element, seamlessly shifting the atmosphere and transporting the audience to different settings. Never has there been a show that uses such smart and intentional staging. Overall, “Poor Yella Rednecks” is the testament of an exceptionally talented cast and crew led by the even more exceptional direction of Adrales.
“Poor Yella Rednecks” is funny, fearless, and fantastic! The audience I sat in skewed a little older and less diverse than I hoped. The theater world continues to diversify itself on stage, but the audiences tell a different story. This is a story I highly recommend for those who are younger and who are like me—a first-generation immigrant. The story of “Poor Yella Rednecks” is something I and many others can relate to. Not belonging, being unseen, and having to change oneself to be accepted by the majority. But, “Poor Yella Rednecks” isn’t only about the trials of assimilation. It’s a celebration of family, forgiveness, unconditional love, and perseverance. It’s a story about the people who struggle the most, but are truly the heart of this country. My hope is that everyone can feel the spirit of “Poor Yella Rednecks” as we think of the future of our country.
“Poor Yella Rednecks” is a Manhattan Theater Club production running now at New York City Center Stage.
Tickets can be found online.
Empire Steak House welcomed Mayor Eric Adams, long time supporters, Fox 5 and more to celebrate the opening of their newest location on October 25th.
Snuggled between Times Square and Rockefeller on West 49th Street, at the Pearl Hotel, the family owned restaurant was filled with a sentimental crowd, many of who supported the Sinanaj brothers since the beginning of their journey; or the part most were able to witness.
A 40 year labor of love, Jack, Russ and Jeff made their way from Montenegro to Brooklyn’s Peter Luger where they were able learn the restaurant business before opening their own: NYC’s Chazz Palminteri Italian Restaurant and Empire Steak House, which also has a location in Tokyo.
Over cocktails and bite size servings of the restaurant’s chops, steaks and skewers New Yorkers celebrated the restaurant alongside Broadway stars, including Purlie Victorious cast members, New York City Hospitality Alliance Executive Director Andrew Rigie, and more. Commemorating Broadway, resilience and good food, Mayor Adams, a plant based eater, came out to support the restaurant for what it symbolizes. “Their story is our story,” the Mayor said in a speech prior to the ribbon cutting.