Sunday, January 22, 2017



Although written first, Jitney is the last of the ten plays in August Wilson’s American Century Cycle to reach Broadway. This superb production at Manhattan Theatre Club was worth the wait. The focus of the play is the office of a gypsy cab service in a primarily black Pittsburgh neighborhood. We meet the owner Becker (the indispensable John Douglas Thompson), a man widely respected by the community; four of his drivers — Fielding , an alcoholic with a surprising past (longtime Wilson veteran Anthony Chisholm); Youngblood (Andre Holland from the film Moonlight), the Vietnam vet trying to make a better life for his girlfriend Rena (Carra Patterson) and their young son; the soft-spoken, aloof Doub (Keith Randolph Smith), emotionally crippled by what he saw in the Korean War; and gossipy troublemaker Turnbo (the pitch-perfect Michael Potts) — and a couple of regular visitors — Shealy (Harvy Blanks), a flamboyant numbers bookie, and Philmore (Ray Anthony Thomas), a frequent customer. Finally, there is Booster (Brandon J. Dirden), Becker’s son, just released from prison after 20 years. The reunion scene between father and son that ends the first act is both riveting and lacerating. The conversations and conflicts among the other characters often pack a punch while often simultaneously delivering a chuckle. Ensemble acting doesn’t get much better than this. The richly detailed set by David Gallo incorporates glimpses of the neighborhood. Toni-Leslie James’s costumes are perfection. The bluesy music by Bill Sims Jr. enhances the action. Director Ruben Santiago-Hudson (The Piano Lesson) once again demonstrates his aptitude for Wilson’s work. The play is weakened a bit by its pat ending, but not enough to erase its many strengths. My one quibble is that I thought that Dirden (The Piano Lesson), although a fine actor, was miscast; he bears no physical resemblance to Thomspon and looks too sleek and confident for a man just out of prison. Nevertheless, this is a powerful revival of a play well worth seeing. Running time: 2 hours 25 minutes including intermission.

Seating advice: Since the floor of the stage has been raised at least a foot, i do not recommend seats in the first few rows.

Saturday, January 21, 2017

The Liar


One of the most enjoyable plays I saw in 2011 was The School for Lies, David Ives’s delightful riff on Moliere’s The Misanthrope, at Classic Stage Company. The cleverness of Ives’s rhymed couplets, full of anachronisms and contemporary references, more than compensated for the silliness of the plot. Three years later, Ives was back at CSC with his “translaptation” (his word) of “The Heir Apparent,” a comedy by lesser known French playwright Regnard. While enjoyable, it did not reach the hilarious peaks of the earlier piece. Now CSC is presenting Ives’s latest adaptation of a classic French comedy, Corneillie’s The Liar (Le Menteur). The good news is that Ives is in top form and the production is another triumph of style over substance. The slight plot, a trifle based on mistaken identities, is performed with conviction by an excellent cast led by Christian Conn in the title role of Dorante and the ever-enjoyable Carson Elrod (“All in the Timing,” “The Heir Apparent,” “The Explorers Club’) as his manservant Cliton, who cannot tell a lie. Ismenia Mendes and Amelia Pedlow are charming as Clarice and Lucrece. Tony Roach is fun as Alcippe, Clarice’s secret fiance. Aubrey Deeker is fine in the less showy role of Philiste. Adam LeFevre brings warmth to the role of Dorante’s father Geronte, Kelly Hutchinson is a delight its the twin maids Isabelle and Sabine. The elegantly simple set by Alexander Dodge and the attractive costumes by Murell Horton enhance the production. Michael Kahn directs with a light touch. My only reservation is that it is almost too much of a good thing. The slenderness of the plot barely supports the play’s length, despite all its cleverness. Running time: 2 hours 10 minutes including intermission.

Comfort alert: The seats in Row A do not have arms.

Wednesday, December 28, 2016

Tiny Beautiful Things ** C

Cheryl Strayed’s 2012 collection of her “Dear Sugar” advice columns from The Rumpus, an online website, was a bestseller. Actor Nia Vardalos (My Big Fat Greek Wedding) thought it would be a good idea to adapt it for the stage and enlisted Marshall Heyman and Thomas Kail to assist with the concept. Kail (Hamilton) also directs. The result is this sporadically involving 80-minute production now at the Public Theater. An epistolary play with no direct interaction between characters is not an easy thing to bring off, but it can be done (cf. Love Letters). Here, however, it is an unequal exchange with one person responding to questions from several others. Three actors — Phillip James Brannon (Nat Turner in Jerusalem),  Alfredo Narciso and Natalie Woolams-Torres — play a variety of people with a variety of problems, large and small, who write to Sugar for advice. Sugar differs from the typical advice columnist by her willingness to share her own painful experiences with her readers. Nardalos portrays her with no-nonsense directness, folding laundry or packing school lunches as she speaks. Each time one of the other actors appears, he or she is playing a different person so there is little opportunity to build a character. One notable exception is an extended scene in which Narciso plays a man whose son has been killed by a hit-and-run driver; he is absolutely wrenching. While the questions more or less resemble ordinary speech, Sugar’s answers come out in polished prose. I would have preferred reading them at my leisure over hearing them on a stage. Rachel Hauck’s set of Strayed’s kitchen and living room looks so lived in that I found myself studying its details when my interest lagged. Jennifer Moeller’s costumes suit the characters well. Thomas Kail’s direction tries hard to enliven a basically static situation. I admired all the good intentions, but I found the effort ultimately misguided.

Thursday, December 8, 2016

On Your Feet ** C+

If exuberance were all it took to make a Broadway musical a winner, this jukebox bio-musical about Gloria and Emilio Estefan and the Miami Sound Machine would make the grade. The infectious music of this Cuban-American couple is played by a terrific orchestra that is onstage for the big numbers. The two leads, Ana VillafaƱe and Ektor Rivera, are both excellent and are supported by a fine cast that includes Andrea Burns, Alma Cuervo and a young tap-dancing terror named Eduardo Hernandez. The dance numbers, choreographed by Sergio Trujillo, are relentlessly energetic. David Rockwell’s hyperactive set features two tall panels made of shutters that move around a lot. The costumes by Esosa are a treat. Jerry Mitchell’s direction is slick. Unfortunately, all the show’s strengths are largely undone by a lame book by Alexander Dinelaris. Its weaknesses are less apparent during the lively first act, but become increasingly problematic during the weak second act. The abrupt and rather flat finale morphs into an unusually lively extended curtain call. Go for the music and the dancing and try to ignore the book. It has been running for over a year, so clearly it has found an audience. Running time: 2 hours 25 minutes including intermission.

Wednesday, December 7, 2016

Looking Back at 2016

Judging from the shows I saw in 2016, New York theater has had a better year than in 2015. This year I awarded **** (Very Good) ratings to 17 shows. Last year there were only 9.

Here are my 4-star shows listed alphabetically:

The Color Purple
Dear Evan Hansen
Fiddler on the Roof
The Golden Bride
“Master Harold” …and the Boys
Noises Off
Old Hats
Sense & Sensibility
She Loves Me
Shuffle Along
Thank God for Jokes
Turn Me Loose
The Wolves

Only 3 shows received my * (Poor) rating, as compared to 8 last year.

In alphabetical order they are:

Newsical: The Musical
Our Mother’s Brief Affair

Incidentally, a few people asked whether I had ever awarded a show 5 stars. The answer is yes: The Piano Man and Who’s Afraid of Virginia Woolf in 2013 and a previous version of Old Hats in 2012. Let’s hope that with the new rating system it won’t be too long a wait until the first A+.

I hope you had many enjoyable theatrical experiences this year and will have even more in the coming year.

With best wishes for the Holiday Season,
Bob Sholiton

Sunday, December 4, 2016

Theater Reviews: A Change in Scoring

Loyal reader,

For some months, I have been concerned that my 0-to-5 star rating system lacks sufficient nuance. In particular, a 3-star rating covers so much territory that it is not all that informative. Therefore, I am testing a letter-grade system with pluses and minuses to see whether that is more helpful. I have added a letter score to all the reviews since July of this year to give you an idea how it would work. If you scroll to the bottom of this screen, you will see "Blog Archive." Click on the name of each month starting with July 2016 and you will see the names of the plays I reviewed that month with both a star and a letter rating. Please let me know what you think. If you have trouble using the comment function, just send me an email at If there is general approval, I will switch from stars to letters starting in January.

Best wishes for a wonderful holiday season.

Bob Sholiton

Saturday, December 3, 2016

The Babylon Line ** C-

Making fun of the conformity of life in Levittown 50 years ago is a bit like shooting fish in a barrel. The target is too easy. Nevertheless, Richard Greenberg’s look at a creative writing class in the local adult education program, now in previews at Lincoln Center Theater, initially shows promise. The presence of such stalwarts of the New York stage as Randy Graff, Julie Halston and Frank Wood as three of the students is a big help. Josh Radnor (Disgraced) is no slouch either as their teacher, an unsuccessful writer who makes the weekly trip from Manhattan to earn a few dollars. Ms. Graff plays a stereotypical overbearing yenta, who would be objectionable if she weren’t so amusing. Ms. Halston, as one of her friends, is more open-minded. Maddie Corman portrays another friend, who has a rocky marriage. Frank Wood plays a veteran suffering from what we now call PTSD, who seeks release in his writing. Michael Oberholtzer plays a strange young man, possibly on the spectrum, who is working on a magnum opus. The final student is a mysterious woman who has lived in Levittown for many years, but is unknown to the others. This character, portrayed by Elizabeth Reaser, whom I have admired on other occasions, has for some reason been saddled with a Southern accent that comes and goes. (Perhaps there was a course on Tennessee Williams next door and she wandered into the wrong classroom.) The first act proceeds smoothly, but after intermission things go seriously off the rails. The second act is overlong and overwrought, burdened with lame gimmicks and false endings. Richard Hoover’s classroom set is excellent. I can't vouch for the accuracy of  Sarah J. Holden’s period costumes, but they seem appropriate. Director Terry Kinney gets tripped up in the second act problems. There are several entertaining moments along the way, but by the end most of the goodwill I felt after Act One had vanished. At least it’s an improvement over Greenberg's last play, “Our Mother’s Brief Affair,” which he briefly references. Running time: 2 hours 20 minutes including intermission