With its magic and wit, beloved children’s book “Matilda” by Roald Dahl should have translated spectacularly to the big-stage spectacle of Broadway. While several of the stunts are superb, a predictable plot keeps the show from being enjoyable at an adult level.

Despite its 12 Tony Award nominations, including a nod for Best Musical, there’s a big puzzle-piece missing from “Matilda.” Primarily, the lines seem a little lackluster, and the comedy fails to provoke many laugh-out-loud moments. Even a large man (Bertie Carvel) cross-dressing as the sadistic, kid-hating Miss Trunchbull is a bit of a one-note joke.

But more to the point, it’s the simplicity of the story: The good guys are good, and the bad guys are bad, and there’s never any doubt of who will wind up winning the day. The only reason to keep your eyes open is for the fun choreography (Peter Darling), largely accomplished by a cast of child actors, the likes of which are hard enough to herd in minor roles, much less giving them nearly three hours’ worth of showtime to shoulder. Four young girls share the title role, but there isn’t one in the world that could possibly endear us to this Matilda Wormwood. She’s a cute little genius with superpowers, to whom nothing unbearably awful happens, and it’s hard to envision this heroine as an underdog. In moments of fitful boredom, we began rooting for Trunchbull.

In summary, “Matilda” is probably most appropriate for kids or those who aren’t already familiar with the tale. We’d be willing to give the soundtrack (Tim Minchin) a shot on its own, however, thanks to the libretto’s quick lyrics that never condescend to the listener.

The Tony nominations it received:

• Best Musical
• Best Actor: Bertie Carvel
• Best Featured Actor: Gabriel Ebert
• Best Featured Actress: Lauren Ward
• Best Director: Matthew Warchus
• Best Choreography: Peter Darling
• Best Book: Dennis Kelly
• Best Score: Tim Minchin
• Best Orchestrations: Chris Nightingale
• Best Set Design: Rob Howell
• Best Costume Design: Rob Howell
• Best Lighting Design: Hugh Vanstone
• Also, Sophia Gennusa, Oona Laurence, Bailey Ryon and Milly Shapiro will receive Tony Honors for Excellence in the Theatre for their performances as “Matilda” in “Matilda The Musical.”

If you go

‘Matilda the Musical’
Shubert Theatre,
225 W. 44th St.
$32-$167,
www.matildathe
musical.com

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A man fell out of a window at Broadway’s Lyceum Theater on West 45th Street on Sunday and landed on the theater’s marquee, according to news reports.

The man was leaning on the window at approximately 2:50 p.m. when he fell, The Daily News reports.

“He went over the windowsill and out,” an FDNY source told the News. “He lost his balance.”

He is said to be in his 60s. He was taken to Bellevue Hospital with minor chest and back injuries, officials said.

The incident occurred shortly before the start of a matinee performance of “The Nance,” starring Nathan Lane.

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You know the old saying, “I would watch that man conduct the phone book”? Well maybe we paraphrased slightly, but it certainly applies to Steven Reineke, the music director of the New York Pops and the principal pops conductor for both the Toronto Symphony Orchestra in Canada and the National Symphony Orchestra in Washington, D.C. Reineke, who is also a composer himself, is most widely known for his effusive dance moves and obvious passion onstage as he brings to life a wide variety of popular scores. We caught up with the charismatic conductor earlier this month following a tribute to Stephen Schwartz, celebrating the acclaimed composer’s 65th birthday as well as the 10th year of his Broadway megahit, “Wicked.” You can see Reineke bring his musical magic to Carnegie Hall on April 29 at 7 p.m. as he leads the Pops’ 30th birthday gala, closing out the 2012-2013 season (www.newyorkpops.org).

Do you believe that there’s a disconnect between today’s younger audiences and formal musical performances?

No, I don’t believe so, [not] for a Pops concert. It’s certainly my mission to welcome a younger demographic into the concert hall, and we’re seeing evidence that that’s happening. We definitely have subscribers in an older age bracket who have been around supporting the orchestra for the last 30 years. The programming we’re doing – [like] a Stephen Schwartz concert — will attract a lot of people. But when we even do Rodgers and Hammerstein or Lerner and Loewe, I pair that with some of the great young talent that’s out there today. And that brings in a lot of younger audience members. We’ve done a number of shows that have brought in younger people as well. I like to do something for everybody.

When you were young, were you already into musical theater?

I was. I was always into all kinds of music from a very early age. I started to play music when I was 10 years old. Musical theater really hit me early in high school, when I really found a great love of that. But there are so many types of music that I love.

And were you a fan of Stephen Schwartz?

Oh yeah, I was a big fan of Stephen Schwartz. I knew all the “Godspell” music early on, because that musical was very popular. In college, I was a trumpet major and I played trumpet in the pit orchestra of our college production of “Pippin,” and I remember how much I just fell in love with that musical. That’s always been one of my all-time favorites, so I said: “Who is Stephen Schwartz?” I really wanted to know everything about him and everything he wrote. There’s so much great music. And we hadn’t heard from him for a while when he moved to Hollywood and started doing all those Disney films. I didn’t know if he was going to write another musical, and then — boom! — here comes “Wicked,” which is his masterpiece. It’s just absolutely brilliant.

Have you seen the revival of “Pippin” that’s now on Broadway?

Yes, I went to see the new “Pippin” a couple weeks ago. I really loved this new production of it. It’s not updated musically; there was one other performance where they tinkered with the music to make it sound more modern, but I liked the fact that they kept the sound of “Pippin” from its original production. But the visuals and the storytelling and the way they added the circus performers is stunning.

Do you enjoy conducting the same kind of music you enjoy composing?

Yes, I always love conducting one of my own pieces — it’s always a great, great thrill. To conduct all different types of music everything from ballet scores to film scores to big band jazz to movie music, everything takes a little bit different skill set and different nuances and that’s always a great challenge.

Do you have any advice for youngsters who want to get into the field?

Pick another job. [Laughs] No, not really. The best advice for being in the arts in general is perseverance. We all get shot down a lot in the arts. When you’re younger you hear a lot of times “you’re going to be a starving artist” or “you should really get a degree in education so you have something to fall back on.” I never liked that philosophy. You really have to know in your heart of hearts that you love this and you have to be prepared to hear no a lot of times, and get up the next day and still go out there and try to make it. Because then one day you’re going to get that “yes” you’ve been looking for.

I think it’s evident that in your heart of hearts you have a passion for this. What else do you ascribe to your success? Because people are really drawn to you personally.

Oh boy, I don’t know exactly what that is. I do try to break down the barriers between the audience and the orchestra and the performers so that it feels pretty much – even when we’re in a large hall, like Carnegie Hall or when I’m directing the NSO at the Kennedy Center, that I like it to feel a lot more intimate like we’re just doing music in a living room – like I often do – for friends. So I want it to be very welcoming and inviting to people but I don’t know, I get told all the time that I just have great dance moves when I’m up there, so that helps at times.

Speaking of NSO – you’re taking the Schwartz concert down there?

That is correct – you can come to Washington, D.C., where we’ll be playing three performances of [the Schwartz tribute] at the Kennedy Center.

What’s up next?

This is the end of our season, so I’m really excited for our 30th anniversary gala. It’s going to be such a star-studded cast — and by honoring Frank Loesser, Jule Styne and Danny Kaye, we have an incredible canon of music to pick from.

Does that mean you get a break?

We have a little bit of a break. I don’t have much of a rest, because I also conduct the NSO and the Toronto Symphony [Orchestra]. And my summers, I guest conduct all over the continent. But the NY Pops will have a little bit of time off as we gear up for next season to open in October.

Anything else?

I’m ready for a cocktail.

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It’s sad to hear that “Hands on a Hardbody,” written by Pulitzer Prize-winner Doug Wright, will be shuttering its doors on Broadway this Saturday after just 28 previews and 28 performances (it officially opened March 21). Standing out amid a season of revivals (“Pippin”) and jukebox musicals (“Motown: The Musical”), this was a somewhat original work, albeit technically an adaptation of the 1997 documentary by the same name.

Onstage, this endearing portrayal of small-town Americana belies its early closure, which came after poor attendance despite solid reviews and discount ticket sale initiatives. Some numbers — by Phish’s Trey Anastasio and Amanda Green — elicit sheer rapture (“Joy of the Lord”), while others tackle national social conditions, such as immigration and racism (“Born in Laredo”). Our favorite was the powerful rock ballad “Stronger,” showing Anastasio’s strengths best employed. Despite a convention that’s seemingly stale, as the contestants must always keep their hands on the central set piece, a full-sized red Nissan “hard body” truck, the play has more to offer through the characters’ unique story arcs and solos. It does take a few numbers to warm up, but soon has even cynical New York City audiences hooked (perhaps because for once they aren’t sure what the ending will be or already have the tunes memorized from 20 years ago). One major problem is the story’s pat resolutions and flat platitudes, including a synopsis of how each character’s life turns out.

While we’d love to urge theater aficionados to catch this novelty before it closes, those with limited funds are better off investing in “Kinky Boots” — another new musical with celeb involvement (Cyndi Lauper) that’s based on a film based on a true story, but practically guaranteed to stick around for more than a month.

If you go

‘Hands on a Hardbody’
Through Saturday
Brooks Atkinson Theatre,
256 West 47th St.
$47-$197,
www.handsonahardbody.com

Follow Theater Editor T. Michelle Murphy on Twitter: @TMichelleMurphy, or email her your thoughts at tmichelle.murphy@metro.us.

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A man was struck and killed by an MTA bus Wednesday in front of Elmhurst Hospital in Queens, according to police.

The victim was walking onto the street in between two parked cars when he was hit by an oncoming Q53 bus at approximately 7:36 p.m. The incident occurred in front of Elmhurst Hospital, where the victim was pronounced dead on arrival.

The bus remained on the scene. No arrests were made, and the investigation is ongoing.

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Cory Michael Smith, left, plays Fred to Emilia Clarke’s Holly Golightly in the play adaptation of “Breakfast at Tiffany’s.”
Credit: Joan Marcus

It’s not so much that Emelia Clarke dispels the ghost of Audrey Hepburn in her portrayal of Holly Golightly – how could she, or anyone else or that matter? But, slighter and younger (closer in age to Holly as written), Clarke imbues the role in Richard Greenberg’s adaptation of Truman Capote’s “Breakfast at Tiffany’s” with her own brand of naive sophistication. She’s quite credible, if not quite Hepburn, as the young woman who supports herself in $50 increments (in the 1940s) donated by male patrons for “trips to the powder room.

Clarke is nicely paired with Cory Michael Smith as the upstairs neighbor Holly calls Fred because he reminds her of her brother. Smith’s layered ambiguity suits Fred, a gay man utterly infatuated with elusive Holly. The pair vacillates between affection and hostility as Fred watches Holly woo, intending to wed, an American playboy and a would-be Brazilian president, only to scare off the latter with the whiff of scandal.

Greenberg’s script, truer to Capote than the bowdlerized Hollywood treatment that Hepburn rose above, is solid but lacks the novella’s magic. Capote’s tale, like Holly, is evanescent: It floats gracefully through her haphazard, elegant exploits. Greenberg’s work seems episodic. Every set change calls attention to itself, giving the work an uneven, choppy quality. What Capote lightly lets us surmise (such as Fred’s sexual preferences), Greenberg heavily proclaims. For all its carnal subtext, Capote’s wisp of a novel is ethereal; Greenberg’s play is earthbound.

If you go

‘Breakfast at Tiffany’s’
Cort Theatre,
138 W. 48th St.
$37-$132, www.breakfastattiffanysonbroadway.com

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A new report shows that Broadway, running through Manhattan and The Bronx, is the most dangerous roadway for pedestrians with a total of 17 deaths over a three-year period, The Daily News reports.

It gets worse further up north, with most of the accidents occurring above 96th Street. Only one pedestrian died south of 96th Street, according to the Tri-State Transportation Campaign report. The implementation of pedestrian plazas and lane closures has made Broadway safer south of 96th Street, the campaign’s executive director explained.

Still, the city is safer overall for pedestrians, with the number of pedestrian fatalities down by 27 percent.

The report breaks down data for every county in the tri-state region. Other dangerous roads in the city include Amsterdam Avenue in Manhattan and Woodhaven Boulevard in Queens, both with seven fatalities over a three-year period, and Ocean Parkway in Brooklyn with six fatalities.

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Shia LaBeouf
Credit: Getty Images

Shia LaBeouf recently dropped out of the Broadway production of ‘Orphans’ citing creative differences and disagreements with fellow actor Alec Baldwin.

The news is not particularly shocking. We imagine these types of things happen in the theater world all the time. Right?

Last night LaBeouf released his apology email to Baldwin over Twitter. We tend to keep our apology emails private (or you know, just apologize to someone in person) but to each his own.

LaBeouf’s email read:

My dad was a drug dealer. He was a sh-t human. But he was a man. He taught me how to be a man. What I know of men, Alec is-

A man is good at his job. Not his work, not his avocation, not his hobby. Not his career. His job.

A man can look you up and down and figure some things out. Before you say a word, he makes you. From your suitcase, from your watch, from your posture. A man infers.

A man owns up. That’s why Mark McGwire is not a man. A man grasps his mistakes. He lays claim to who he is, and what he was, whether he likes them or not.

Some mistakes, though, he lets pass if no one notices. Like dropping the steak in the dirt.

He does not rely on rationalizations or explanations. He doesn’t winnow, winnow, winnow until truths can be humbly categorized, or intellectualized, until behavior can be written off with an explanation.

A man knows his tools and how to use them – just the ones he needs. Knows which saw is for what, how to find the stud.

A man does not know everything. He doesn’t try. He likes what other men know.
A man can tell you he was wrong. That he did wrong. That he planned to.

He can tell you when he is lost. He can apologize, even if sometimes it’s just to put an end to the bickering.

Alec, I’m sorry for my part of a dis-agreeable situation. – Shia.

Who knew LaBeouf was such a wordsmith. Don’t get too excited, he’s not.

It turns out LaBeouf completely plagiarized an essay published in Esquire titled “How to Be a Man” in 2009.

The original text is:

A man is good at his job. Not his work, not his avocation, not his hobby. Not his career. His job. It doesn’t matter what his job is, because if a man doesn’t like his job, he gets a new one.

A man can look you up and down and figure some things out. Before you say a word, he makes you. From your suitcase, from your watch, from your posture. A man infers.

A man owns up. That’s why Mark McGwire is not a man. A man grasps his mistakes. He lays claim to who he is, and what he was, whether he likes them or not.
Some mistakes, though, he lets pass if no one notices. Like dropping the steak in the dirt…

He does not rely on rationalizations or explanations. He doesn’t winnow, winnow, winnow until truths can be humbly categorized, or intellectualized, until behavior can be written off with an explanation…

A man knows his tools and how to use them – just the ones he needs. Knows which saw is for what, how to find the stud, when to use galvanized nails…

A man can tell you he was wrong. That he did wrong. That he planned to. He can tell you when he is lost. He can apologize, even if sometimes it’s just to put an end to the bickering.

A lazy apology or another diss toward Baldwin? In any case, well played, Shia. Well played.

Follow Mary Ann Georgantopoulos on Twitter @marygeorgant

The post What’s going on with Shia LaBeouf and ‘Orphans?’ appeared first on Metro.us.

Credit: Josh Lehrer

The cynic’s pick: ‘PASSION’

“Passion” is a twisted love story about a relationship founded on obsession and manipulation. The antithesis of a rom-com, this dark musical will appease those who are intrigued by the intensity of infatuation and the complexities of newfound love. For Sondheim fans, it’s a no-brainer. And those who like to be first-to-know will be impressed that you heard about this under-the-radar restaging that’s new to town as of this weekend (Feb. 8). www.classicstage.org

Credit: Joan Marcus

The confident choice: ‘PICNIC’

No matter who you are, it takes a lot of courage to bring your date to a play where Sebastian Stan spends half the time onstage shirtless and gleaming with sweat. Here he’s a down-on-his-luck drifter who falls for a small town’s most prized bachelorette. We won’t tell you how that seemingly doomed affair turns out, but we will guarantee that you’ll earn major points for being bold enough to stare at Stan while sitting next to your SO. www.roundabouttheatre.org

Credit: Michael Brosilow

The long-term ticket: ‘WHO’S AFRAID OF VIRGINIA WOOLF?’

Committed couples get comfortable with one another; they operate in a language that only they can understand. This production takes that kind of long-haul love to the next level, showcasing theater’s most cohesively dysfunctional husband and wife as they bait and mock a newly married duo over a long night of cocktails. And it’s all in the name of breaking familiarity and pushing their relationship to the next level. Despite the epic levels of gamesmanship to which this particular pair have taken their matrimony, the play’s still recognizably romantic in a way that many longtime lovers will understand. www.virginiawoolfbroadway.com

Credit: Joan Marcus

The introductory date: ‘THE MYSTERY OF EDWIN DROOD’

Isn’t it great at the start of a relationship, when there’s still a lot of excitement and, well, mystery? If you’re just starting out with someone new, a musical comedy is the perfect pick that will let you relax together and laugh. With audience participation and surprise endings that change every night, there’s plenty within this uproariously convoluted plot for you to talk about. And regardless of the twists and turns this choose-your-own-adventure might take, you’ll be good to go knowing that every single performance is going to end in a love song. www.roundabouttheatre.org

Credit: Joan Marcus

The safe bet: ‘ONCE’

As the top Tony winner of 2012, “Once” is likely to hit the mark for even the hard-to-please theatergoer. Romantic and haunting, the story follows musicians who realize they each bring out just what the other person needs most. If all else fails, there’s a bar right onstage so you can grab a glass of wine to smooth over any misgivings about your taste in musical theater. But in our professional opinion, if your date doesn’t like “Once,” you should probably just reconsider the relationship. Unfortunately, this is also one where it might be hard to score tickets — but if you can, you really can’t go wrong. www.oncemusical.com

Follow Metro’s theater editor via Twitter: @TMichelleMurphy.

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Tickets are priced from $37 to $108. Purchases can be made at the Carnegie Hall Box Office (57th Street & 7th Avenue) or by calling CarnegieCharge at 212-247-7800.

The post The New York Pops with Guest Stars Megan Hilty and Ryan Silverman appeared first on Metro.us.

The development comes five months after Taymor reached a settlement in principle with 8 Legged Productions, the producer, in her copyright infringement case.

The “parties’ efforts to finalize a settlement have not yet been successful,” Charles Spada, a lawyer for Taymor, wrote in a January 9 letter to U.S. District Judge Katherine Forrest in Manhattan. But he said both sides were “hopeful that a final settlement can be reached within the next few days.”

The letter was made public on Thursday, and a trial is scheduled to begin on May 27.

The musical got off to a rough start in 2010 that included opening night delays, poor early reviews, injuries to actors and the firing of Taymor, who had previously won a Tony Award for directing “The Lion King.” She sued 8 Legged Productions in November 2011.

Any settlement is conditioned on 8 Legged Productions reaching a separate agreement with Marvel Entertainment, a unit of Walt Disney Co, to extend its license to produce the musical in other venues, Spada wrote in a December 19 letter to the judge, also made public on Thursday.

At that time, Marvel and 8 Legged Productions had been close to finalizing such an agreement, the letter said.

Dale Cendali, a lawyer for 8 Legged Productions, said settlement talks were continuing, and both sides hope to settle in the near future. She declined to say why a final settlement has not been reached.

Spada, Taymor’s lawyer, in an email, confirmed the “parties are still working together to try and resolve the matter.”

A spokesman for Marvel did not immediately respond to a request for comment.

The post No final settlement yet over Broadway’s ‘Spider-Man’ appeared first on Metro.us.

The protest marked the 25th anniversary of ACT UP, an advocacy group for people living with AIDS. One group of demonstrators, joined hip to hip by a chain, spread across Broadway, just off Wall Street. Another group of protesters sat in furniture they placed on Broadway near City Hall.

Nine protesters were arrested in the demonstration near Wall Street, according to police. Officers cut the chains before cuffing the protesters, who staged the demonstration to demand that Wall Street contribute a Financial Speculation Tax, which they claim would raise $350 billion for AIDS treatment by 2015. The tax is often referred to as the “Robin Hood Tax Campaign,” which is why protesters wore hats reminiscent of the Medieval character known for stealing from the rich and giving to the poor.

“ACT UP has been occupying Wall Street since 1987, recognizing that corporate greed and the political inaction that it buys fuels the epidemic,” said activist Staci Smith.

Ten of the arrests happened near City Hall when protesters dragged couches and chairs onto Broadway to demand more housing assistance for people with HIV/AIDS

Police said most of the 19 people arrested were charged with disorderly conduct, obstruction of governmental administration or both.

While the protesters held signs with the message, “Act Up & Occupy,” Chip Duckett, a spokesman for the activists, said today’s demonstrations were not a direct action of Occupy Wall Street, but the message of ACT UP is supported by the movement.

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‘Death of a Salesman’
Philip Seymour Hoffman brings dramatic clout to this Arthur Miller classic as Willy Loman, while Andrew Garfield will pull in the younger crowds as the handsomely angsting Biff. The cast also includes Linda Edmond and John Glover. With a tight ensemble balancing varying shades of eminent talent, this show may have a seasoned heritage but it promises to be anything but stale.
Now in previews; opening March 15. www.deathofasalesmanbroadway.com

‘Newsies’
Another movie-musical adaptation for the stage, “Newsies” revisits the story of plucky newsboys with the heart and gall to stand up (and sing and dance) and strike in 1899. Wow, has it really been 20 years since we first sang along to our 1992 VHS? Also: Is it too much to ask for a Christian Bale cameo? Look for six brand-new songs in addition to the ones you already know by heart (c’mon, you know you do).
Previews begin March 15; opening March 29. www.newsiesthemusical.com

‘Jesus Christ Superstar’
The 1971 gospel rock concert by Andrew Lloyd Webber and Tim Rice is injected with new life and revamped for a modern retelling of J.C.’s electric youth. The cast lacks a heavyweight name (aside from, perhaps, director Des McAnuff) — but what name do you need other than the titular superstar? We just wonder how tourists will be able to choose between this and “Godspell.”
Now in previews; opening March 22. www.superstaronbroadway.com

‘Peter and the Starcatcher’
Don’t worry, “Newsies” is fulfilling the Disney-on-Broadway quota — and this isn’t just a children’s theater adaptation of “Peter Pan.” Billed as “the Neverland you never knew,” this retelling is an adventurous origins story of the boy who won’t grow up. A dozen actors play more than 100 imaginative roles in a show that’s suggested for ages 10 and up.
Previews begin March 28; opening April 15. www.peterandthestarcatcher.com

‘Once’
You may remember this title from when it was called at the Academy Awards for Best Original Song in 2008. The hit musical film about love and art under pressure, by breakout duo Glen Hansard and Marketa Irglova, has been adapted for the stage. This time, the young lovers are played by Steve Kazee and Cristin Millioti – and yes, they play their own instruments. Now in previews;
opening March 18. www.oncemusical.com

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This family musical might not exactly go part and parcel with a happy ending, but at least you can put off thinking about that until after the first act. And parents won’t have to worry about children getting clobbered over the head with religion, as the story is told through approachable parables padded in high-energy humor and pop culture references.

Hunter Parrish (“Spring Awakening,” “Weeds”) plays a handsome, happy Jesus whose grinning innocence sometimes belies the intelligence that such a powerful leader of men would likely possess. Nine ensemble actors answer to their real names and showcase individual strengths onstage; each steals the spotlight in turn during his or her featured solo. There’s a pure, contagious energy not only onstage but on all sides of the theater-in-the-round — the highlight of which is wooden floorboards that open to reveal splashy pools of water or even trampolines.

“Godspell” will always be hampered by the setback of being, well, “Godspell.” It lacks a cohesive plot and is often best received when it’s used as a canvas for a theme or ideology, aside from the obvious. But it’s hard to fault Daniel Goldstein’s production for that omission, considering it leaves room for us to appreciate the cast and its enviable intimacy (we want to get onstage and join the disciples, and are actually welcomed to during intermission).

The show’s biggest detriment is the sudden shift to sobriety in the second act. We haven’t been able to know Jesus as more than a mouthpiece before his downfall, so the sudden bid for our emotional involvement is what one might call a Hail Mary.

The post Oh, ‘Godspell’: Modernized to entertain today’s masses appeared first on Metro.us.

What’s the best piece of advice you’ve ever been given?

Katie Finneran once told me never to change who I am for anyone. I’ve been loud and proud ever since! Sometimes too loud.

Favorite dish to cook for yourself when you’re not in a rush?

Sausage, onions and peppers on a toasted hoagie. And some beer. Mmm …

What’s your most prized possession?

A huge sketch on wood of a walking path in Central Park, custom-framed and given to me by a family friend.

Did you have posters of famous people on your wall growing up? If so, who?

I was really into wrestling when I was a kid, so I had posters of my favorite wrestlers. Watching them was like watching a really bad soap opera, but on some serious steroids with tons of unnecessary and obviously fake violence.

Favorite song ever?

“Private Eyes” by Hall & Oates

Favorite or least-favorite word?

Actually neither of them are at all appropriate for print.

Best or worst date?

Best date involved food doused in truffle oil and the best beef pate I’ve ever had. I like food. Back off!

What reality show do you secretly want to be cast on?

“Jersey Shore.” Great. Now it’s not a secret.

If you had to pick one fast-food chain to eat at for the rest of your life, which one would it be?

In-N-Out Burger. But alas, that would require me to move West. And I love NYC way too much to do that for a burger.

Now that you’ve been interviewed a bunch, who would you want to interview and why?

I would love to interview Keith Richards. That guy has to have some amazing stories. I’d just be concerned about the contact high.

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This jukebox musical sets the standard, placing ’70s ABBA hits (“Dancing Queen,” “Money, Money, Money,” “Take A Chance On Me”) against a millennial fairy tale that incorporates the songs into its narrative. On the eve of her wedding, a young woman invites her three potential fathers to the small Greek island where she and her mother reside and run a tavern. Bride-to-be Sophie (Liana Hunt) ultimately hopes her dad will walk her down the aisle. Shenanigans ensue as the men discover why they’ve been invited back to the tiny isle after 20 years and reacquaint with their mutual ex.

The story is heartfelt, buoyed by frequent song-and-dance interludes. It’s peppered with cheeky, yet underdeveloped, supporting characters and a charismatic chorus that spends far too much time offstage. One downside is that the music often overpowers the singers, who own ABBA’s ballads but disappear in the power pieces where you most want them to excel. That is, except for the encore — you’ll want to stay after the bows for this dynamo finale.

Lisa Brescia as mother Donna leads the pack with presence and talent. Hunt’s singing can be clear and lovely or reedy and breathless — a wavering performance pattern reflected by cast members throughout. In this female empowerment play, men largely take a backseat; however, potential patriarch John Hemphill stands out from the crowd as an impressive soloist. Even the groom (Jordan Dean) seems like an afterthought — at least until he takes off his shirt, to audible audience delight.
“Mamma Mia!” is a high-spirited musical romance that trusts in your willingness to love it. And audiences continue to prove they do, filling the house for 10 years — and onward.

Five fast facts

“Mamma Mia!” has played more than 4,000 times in the U.S.
The North American tour has hit more than 135 cities.
London has featured more than 5,000 performances.
The film adaptation is the highest-grossing movie musical of all time.
It has earned more than $2 billion in revenue worldwide.

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Broadway

‘The Mountaintop’
Opens Oct. 13
Bernard B. Jacobs Theatre
242 W. 45th St.
www.themountaintopplay.com
Starring Angela Bassett and Samuel L. Jackson (need we say more?), this play takes on the juggernaut that is the legacy of Dr. Martin Luther King Jr. This reimagining explores the more introspective moments of the civil rights leader’s life when a mysterious stranger brings to light his destiny.

‘Chinglish’
Opens Oct. 27
Longacre Theatre
220 W. 48th St.
www.chinglishbroadway.com
This play takes audiences along with a Midwestern businessman as he’s swept up in a communication-encumbered culture clash in Guiyang, China. Straying from the maudlin you might expect from “Lost In Translation,” humor and happenstance take center stage in “Chinglish.”

‘Godspell’
Opens Nov. 7
Circle in the Square Theatre
1633 Broadway
www.godspell.com
Touting Broadway classics like “Day By Day” and “Turn Back, O Man,” the return of Stephen Schwartz’s 1971 Christ-centric musical-turned-movie is a no-brainer as one of the most highly anticipated shows of the season — but no pressure, guys.

Off-Broadway

‘The Submission’
Opens Sept. 27
Lucille Lortel Theater
121 Christopher St.
www.mcctheater.org
Check your political correctness at the door and open yourself to the situational comedy that occurs when a young, white playwright gets his big break while hiding behind the nom de plume of Shaleeha G’ntamobi. “The Submission” stars Jonathan Groff (“Glee”) and Rutina Wesley (“True Blood”).

‘Motherhood Out Loud’
Opens Oct. 4
59E59 Theaters
59 E. 59th St.
www.motherhoodoutloud.com
Offering a series of snippets exploring the     inherent humor and heartache of childrearing, “Motherhood” is crafted by 14 playwrights offering their insight on maternity. It comes off as an     emotional roller coaster     — aka, an appropriate representation of  parenthood.

‘King Lear’
Opens Oct. 18
The Public Theater
425 Lafayette St.
www.publictheater.org
Sam Waterston (yes, his bio lists “Law & Order”) takes on the challenging role of “King Lear” as one of Shakespeare’s most notorious tragedies debuts at The Public Theater. “Love’s Labors Lost” and “Titus Andronicus” round out the Bard-based triumvirate through December.

New York Musical Theater Festival

What’s even newer than opening night? Musicals that have never been staged are meeting audiences for the first time during the New York Musical Theater Festival. Explore shows ranging from rock opera to romance; you might get to be among the first to say you saw the next big hit.

NYMF runs Sept. 26 through Oct. 16. Get more info or buy tickets at www.nymf.org.

The post Highlights of the new theater season appeared first on Metro.us.

As characters break the fourth wall, run through the aisles and famously bare it all onstage, not even the most stoic theatergoers can sustain distance from the material. Whether you relate to the lovelorn, pregnant Jeannie (Kacie Sheik) or the spitfire protestor Sheila (Caren Lyn Tackett), you find yourself responding to the tribe’s lustful, confused, angry and ultimately hopeful path — even if you disagree with the one-sided liberal mindset or believe you’re simply there for the energetic pop-rock score. Like the characters, you come to realize that you cannot just remain passive and enjoy the world being created around you.

The choreography of the fun-fueled ensemble romps can be frenetic, and you’re not always sure where to look — but this buffers the more somber overarching plot. As the characters come into their own, the show seems less scattered and settles into maturity as well.

The post ‘Hair’ today, gone tomorrow appeared first on Metro.us.

In Broadway’s stalwart “Chicago,” this process also involves singing, dancing and enough wink-wink innuendos that you might develop an eye twitch. Sadly, despite smart lyrics and a fast-paced book, it’s entirely too believable that these jokes have been repeated every night since 1997 (one culprit is Carol Woods as “Mama” Morton, who seems to confuse subtlety with somnambulism).

But the overall strength of the leads — with Charlotte D’Amboise’s hapless charm, Nikka Graff Lanzarone’s finessed footwork and Chris Sieber’s silver-tongued turn as attorney Billy Flynn — buoys the audience back into amused anticipation for the lines and lyrics that many of them already know from owning the original soundtrack or the more recent film (released in 2002). Hopefully their replacements (see sidebar) can maintain this necessary talent triumvirate.

The classic, vaudevillian concept is justifiably upheld; but high kicks, minimalist staging and slinky black costumes might not hold the same allure for modern audiences who are used to blatant blood and sex onstage. Going forward, “Chicago” will surely continue to hit its niche with tourists, while locals looking to drop big Broadway bucks might wish to seek more contemporary razzle-dazzle elsewhere.

History in the making
This month makes major waves in the current rendition of “Chicago,” Bob Fosse’s acclaimed 1975    musical about merry murderesses who attempt to scheme and seduce their way off of death row and into the limelight.

The revival is set to hit 6,138 performances on Saturday, Aug. 27. This makes it the fourth longest-running musical on Broadway, overtaking “A Chorus Line.” It will also be the new longest-running American musical.

The cast is about to undergo one of its many seasonal changes. This summer, D’Amboise replaced Christie Brinkley’s Roxie Hart; former “American Idol” judge Kara DioGuardi picks up the part for an eight-week stint starting Sept. 5. Lanzarone played Velma Kelly in the stead of Amra-Faye Wright, who reprises the role this fall.?And Sieber’s Billy Flynn will be taken up by Tony Yazbeck on Aug. 29.

The post Retrospective: ‘Chicago’ appeared first on Metro.us.

It’s also an interesting move to see it during the height of “Harry Potter” mania, as the last installation of the film series hit theaters this week. Tickets are selling fast, largely thanks to Daniel Radcliffe, the show’s capable lead – diverting from his known big-screen acting chops as well as his dramatic onstage portrayal in 2009’s “Equus” to charm, joke, sing and dance his way through this nearly three-hour musical. Early in the evening, anyone passing the Al Hirschfeld Theatre on 45th Street will notice a line of his fans toting wizard paraphernalia, already waiting patiently for his exit after curtain call.

Meanwhile, inside, Radcliffe portrays J. Pierrepont Finch, a window-washer desperate to quickly climb the corporate ladder. With a pleasant, albeit not-too-powerful voice, Radcliffe’s biggest boons are perhaps his comedic timing, likeability and surprisingly adept movement skills. The director and choreographer don’t hesitate to play on his height — yet, to his credit, it’s never a handicap in large dance numbers surrounded by an ensemble of pros. Another big name is John Larroquette, who plays the president of the company, World Wide Wickets. In one of the more delightful scenes, the duo bonds by reminiscing about knitting and college football (with Finch conning his way through).

Although it’s the females in this show who bring the real power vocals to secondary romantic storylines, it’s the silly, fun group numbers with both the secretaries and suits that add the best energy and — despite some staid, dated satirical material — make this show an overall success.

The post ‘How to Succeed in Business Without Really Trying’ on Broadway appeared first on Metro.us.

That’s because in the early 1980s, AIDS only seemed to affect the overlooked, ostracized gay community; but throughout “The Normal Heart,” this acronym is ominously absent as research has not yet progressed so far as to identify the syndrome. It’s a nameless, faceless terror attacking those with no power to fight it — a group that, similar to the disease at large, is still struggling in search of recognition and identity.

Though the premise of this play sounds monstrous and depressing, it is a relatable, moving, vital piece of art calling attention to a cause that’s still highly relevant today. The social and political issues remain unresolved even 30 years later.

This revival (contending for five Tony Awards) is co-directed by Broadway heavyweights Joel Grey and George C. Wolfe. The cast features many players from the small screen, including Jim Parsons (“The Big Bang Theory”), Lee Pace (“Pushing Daises”) and John Benjamin Hickey (“The Big C”). Coming off a strong directing spree, Joe Mantello returns to acting as the angry, confused, railing Ned Weeks — an activist who learns to love just when it seems the four-letter word is destroying his friends, his community and his faith.

Though laughter intermittently accompanies wrenching sobs, the simply staged and beautifully written play strikes an even more invaluable balance: “The Normal Heart” supplies a powerful call to action that gives modern meaning to all of its historical heartbreak.

The post Breathtaking revival is full of ‘Heart’ appeared first on Metro.us.

The Council for Living Music, a newly formed group of musicians fighting for live sound, has criticized “Priscilla, Queen of the Desert” for using a taped soundtrack in lieu of filling chairs in the orchestra pit. In a campaign titled “Save Live Music on Broadway,” the Council, with the American Federation of Musicians union, accuses the musical of hiring fewer musicians to save money.

Since the show started, “Priscilla” has employed nine musicians — the Council argues that 18 is standard — and plays a tape to fill in for a strings section.

“It just seems cheap and wrongheaded. It kind of boggles my mind,” said Marshall Coid, the onstage violin soloist for “Chicago.” “It’s a terrible decision.”

“Priscilla” spokesman Adrian Bryan-Brown said the recorded pieces are “elements in the sound of the ‘Priscilla’ score that cannot be recreated by live performance.”  

“It’s not as special if it’s not live,” said Grace Harington, 19, visiting from Saskatchewan and who bought tickets for Thursday night’s performance.

Not alone in the desert

“Priscilla” is not the only musical to perform with the aid of a tape. Tony winner “Contact” was the first show to opt for taped music instead of a live orchestra. “West Side Story” was criticized for using prerecorded music instead of five musicians, who were cut from the production. Other shows, like “La Cage aux Folles,” have chosen to use smaller orchestras instead of an orchestra pit with dozens of performers.

Follow Alison Bowen on Twitter @AlisonatMetro.

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