Act One ***

It's a bit ironic that this play about the storied theatrical collaboration of Moss Hart and George S. Kaufman was written and directed by James Lapine, who is noted for his own collaborative work but this time is working solo. Maybe that's the problem. Perhaps he needed another voice to rein him in from the play's excesses, particularly its excessive length. Maybe he was too smitten with Moss Hart's memoir to pare it down to a more manageable size. Nevertheless, this bioplay, now in previews at the Vivian Beaumont Theater, offers much to enjoy -- many will say too much. Any play that puts Santino Fontana, Tony Shalhoub and Andrea Martin on a stage together won't get too many complaints from me. Fontana is irresistibly charming as always and we get to enjoy Shalhoub and Martin in three roles each. The other 19 cast members are fine too. Yes, the play is old-fashioned and a bit sentimental, but it has many delightful moments. Only a nonprofit like Lincoln Center Theater is likely to take on such an expensive production. With some judicious trimming, it would be much improved. Beowulf Boritt's set works overtime to revolve between the play's many locales. Jane Greenwood's costumes are terrific. In general, I do not think it is a good idea for a playwright to direct his own work. There are exceptions, but this is not one of them. Running time: 2 hours, 45 minutes including intermission.

Cinderella ***

(Please click on the title to see the full review.)
Rodgers and Hammerstein's  TV musical written for Julie Andrews in 1957 has been subjected to much  tinkering over the years. None of its many versions made it to Broadway until now. Douglas Carter Beane has substantially rewritten the book, with uneven results. The king and queen are gone and there are several new characters including a wicked prime minister and a revolutionary. In this version, Cinderella has a social conscience. Another twist is that it is not at the ball that she loses her glass slipper. One of the stepsisters is not mean and gets a love interest. The best argument for this production is that it provides employment for such stalwarts as Harriet Harris, Victoria Clark and Peter Bartlett. Laura Osnes has the loveliness and vocal talent for the title role. Santino Fontana is dark and handsome, although not tall. His abundant charm makes up for his unremarkable voice. The score is not  one of their best, but does include enjoyable numbers like "Ten Minutes Ago," "Stepsisters' Lament." "A Lovely Night" and "Do I Love You Because You're Beautiful." Anna Louizos's scenic design is lavish. William Ivey Long's costumes are often garish. His unflattering high-necked jackets with tails for Fontana make him look short and squat. The fairy godmother has an unfortunate headpiece that looks like the antennae of an insect. Mark Brokaw's direction is assured. It adds up to a mildly pleasant evening, especially if you have a young daughter, niece or granddaughter in tow. Running time: two hours, 30 minutes including intermission.

Sons of the Prophet ****

Stephen Karam brings a fresh new voice to the theater in this drama with strong comic overtones, now in a Roundabout production at the Laura Pels Theatre. The play introduces us to the Douaihys, a Lebanese-American family in northeast Pennsylvania, whose lives are repeatedly touched by adversity. In order to get health insurance, Joseph (the superb Santino Fontana), a gay man in his late 20s who has been experiencing knee problems and mysterious neurological symptoms, has accepted a job as assistant to Gloria (the always wonderful Joanna Gleason), a lonely, neurotic editor who has been exiled from literary New York for publishing a memoir that turned out to be a fake. Joseph's younger brother Charles (Chris Perfetti), who was born with one ear missing, is flamboyantly gay and a geography buff. Their mother has died years before. Their father dies as a result of a high school prank that goes awry. Their uncle Bill (Yusef Bulos) suffers from a debilitating disease and moves in with them. The local school board must decide whether to allow Vin (Jonathan Louis Dent), whose prank led to the father's death, to finish the football season. Timothy (Charles Socarides), an ambitious reporter assigned to cover the school board hearing, has a liaison with Joseph. The prophet of the title refers to Kahlil Gibran's classic. The Douaihys are distantly related to Gibran and Gloria thinks she can turn that relationship into a book that will redeem her publishing career. Each scene begins with a chapter title from Gibran's book. One of the refrains from the book, "all is well," is an ironic comment on the family's travails. There are many funny moments. Most of the play's conversations are wonderfully off-kilter. Joseph's attempt to navigate the voice mail system of a medical office is hilarious. The playwright resists the temptation to tie up all the loose ends neatly, which better reflects real life. Seeing a loving family on stage is a rare treat these days. The cast is uniformly excellent, including Dee Nelson and Lizbeth Mackay who play multiple roles. The set design by Anna Louizos works well, Bobby Frederick Tilley II's costumes are fine, and Peter DuBois's direction is excellent. My one quibble is that a scene in which the prankster visits the family falls flat. All in all, the play is certainly one of the highlights of the Fall season. Running time: 1hour 45 minutes. No intermission.