Linda Gross Theater

The Welkin

June 24, 2024

It is the first year that Haley’s comet has been predicted. Sally Poppy, trapped in a loveless marriage at age 21, has committed a murder with her lover of a child from a rich family she has worked for. She has been sentenced to death by hanging and then to be anatomized (you really don’t want to know). However, she has declared she is with child. If it is true, she will be deported to America after the child is born. But is it true? Twelve local matrons have convened in an unheated upper room of the courthouse to decide on the truth of her statement, from women who know her to be a liar, to those who pity her hard life, from older women with many children, to young ones about to have their first child, from a gentlewoman down to a simple farmer’s wife. The central character is Elizabeth Luke (played by film and television star Sandra Oh), the local midwife who does not wish to see injustice occur. She has brought Sally into the world but though she doesn’t know her since, she feels that the all-male court has not given her a fair chance. On the opposite side is Mrs. Charlotte Cary, a colonel’s widow who is convinced from private knowledge that Sally is a bad one and could be guilty of any crime. [more]

Buena Vista Social Club

December 20, 2023

While the exciting new stage musical Buena Vista Social Club shares the same name with the acclaimed 1999 documentary by Wim Wenders, playwright Marco Ramirez’s book for the new show takes a different approach to the true story now under the direction and development of go-to director Saheem Ali (Fat Ham) for new work by people of color. While the film took us to the recording studio and then interviewed or followed the daily lives of the major singers and musicians involved ultimately taking us to their July 1, 1998 Carnegie Hall concert, the stage show instead tells the 1956 backstory of several of the main characters after we meet them at the 1996 recording session. Although the film made the male singers Ibrahim Ferrer and Compay Segundo the main characters, the musical puts the focus on recording star Omara Portuondo. Both approaches contain the original songs sung by the Cuban music group of old timers that came together in 1996 to record an album of almost forgotten Cuban songs making both versions documents of the highest authenticity. [more]

Infinite Life

September 21, 2023

Ever since Pulitzer Prize-winning playwright Annie Baker adapted 'Uncle Vanya" for a 2012 production at the Soho Rep, her plays like "The Flick," "John" and "The Antipodes" have becomes more Chekhovian: not a great deal happens but characters live out their daily lives. In her new play "Infinite Life," she has gone even further with the silences and the pauses that she has become famous for. Under James Macdonald’s superb direction, we watch five women and one man read, sleep, talk and sip water or juice on the patio of a wellness clinic in Northern California trying to deal with their chronic pain. Not much happens but, on the other hand, these people reveal their whole lives before they complete their treatments and go back to their previous existences. [more]

Days of Wine and Roses

June 14, 2023

Lucas’ script remains faithful to Miller’s teleplay (with the excision of Joe’s delirium tremens in the psycho ward or his second hospitalization) and much of the dialogue is actually Miller’s. However, the problem is the score. Guettel’s 18 songs (including four reprises) are often atonal, unmelodic, unrhymed and don’t scan. While this is true of the Tony Award-winning "The Light in the Piazza" that score had such a lush sound that it was automatically romantic and appropriate for its story. Here it is almost as though Guettel is striving for opera but without the orchestral underpinnings to make it so. The lyrics are mostly recitative, abstract and metaphorical. Aside from three songs in which Joe or Kirsten are joined by their seven-year-old daughter Lila (played by Ella Dane Morgan), only the couple sing, with O’Hara given seven solos. The real problem is as Stephen Sondheim said about his musical Do I Hear a Waltz?: these are characters that wouldn’t sing so the only way to solve this is to have made "Days of Wine and Roses" an opera with a great deal of orchestral music. Here the songs do not add anything to the story. Like Marvin Hamlisch’s score for the stage version of "Sweet Smell of Success," Guettel’s music is devoid of atmosphere, period or otherwise, unless this is the fault of the orchestrations by Guettel with additional orchestrations by Jamie Lawrence. [more]

Elyria

March 16, 2023

What makes "Elyria" intriguing is how its American location affects the hidebound ritual social rules of its Southeast Asian characters. That all the characters emerged from an African diaspora that seemed to have little influence on their ingrained Indian culture only adds to the colorful rendition of an old-hat story. [more]

The Far Country

December 15, 2022

All of the above occurs prior to the intermission and, if "The Far Country" has a shortcoming, it's that the second half feels like a sequel to what came before rather than a continuation of the same play, despite the sensitive efforts of director Eric Ting to emotionally stitch everything together. In part, that's because characters disappear entirely after Suh's story resumes, though the more salient cause is the relatively late introduction of Yuen (Shannon Tyo), a desperate, but still strong-willed, young woman to whom Gyet proposes marriage after returning to China with his U.S. citizenship, essentially replicating Gee's offer to him with an even more intimate bond. [more]

I’m Revolting

October 5, 2022

There are two truisms in life in addition to the one about death and taxes: it takes all kinds of people to make a world and something will get everyone in the end. The world premiere of Gracie Gardner’s "I’m Revolting" beautifully proves both points. A sensitive and perceptive play set in the waiting room of a private New York City skin cancer clinic, the play introduces us to all walks of people and many reactions to medical reports. The ensemble cast includes several veteran actors (Laura Esterman, Glenn Fitzgerald, Peter Gerety and Patrice Johnson Chevannes) and several not so well known faces. Knud Adams’ direction is subtle and unobtrusive allowing life to pass on the Linda Gross stage of the Atlantic Theater Company. [more]

The Bedwetter

June 16, 2022

Comedian Sarah Silverman has turned her bestselling memoir, "The Bedwetter: Stories of Courage, Redemption and Pee," into a musical with the help of co-book writer Joshua Harmon, author of this year’s award-winning "Prayer for the French Republic," and composer Adam Schlesinger ("Cry-Baby"), who passed away in 2020 just as the show was about to go into rehearsal prior to the pandemic. The new musical, simply called "The Bedwetter," like the book is by turns amusing, first hilarious and later serious. Anne Kauffman’s production has a top-notch cast headed by Bebe Neuwirth, Caissie Levy, Darren Goldstein and Rick Crom. [more]

English

February 28, 2022

You may have never thought about it before but you are defined by your language. Your identity is shaped by the words you have and the words you don’t. You can say certain things in one language but not in another. Being bilingual you have one identity, two, or have a split personality. Learning a new language may be like finding a new identity as an adult after you have learned to live with the old one for a long time. These ideas are all beautifully handled in Sanaz Toossi’s lovely, poignant new play, "English," under the astute direction of Knud Adams, now being given its world premiere in a co-production between Atlantic Theater Company and Roundabout Theatre Company at the Linda Gross Theater. We grow to care about the characters as we watch them struggle with learning English as though their lives depended on it. [more]

Kimberly Akimbo

December 21, 2021

David Lindsay-Abaire’s early plays ("Fuddy Meers," "Kimberly Akimbo" and "Wonder of the World") were all whimsical or at least otherworldly. He has gone on to create musicals based on previously written stories, particularly "Shrek the Musical" with composer Jeanine Tesori. Now they have musicalized his play "Kimberly Akimbo" into a very impressive new show at Atlantic Theater Company which many may find works better than it did as a play due to the music and the songs. With a cast led by Tony Award-winner Victoria Clark in the title role, Jessica Stone’s production becomes more and more involving as it progresses to its satisfying climax. [more]

The Last of the Love Letters

September 19, 2021

We’re transported to Ms. Chen’s boldly oppressive spacious prison set with bars, an austere bed, a urinal, a tank to vomit in, and a retractable metal staircase for a menacing authority figure to descend from. Here, we meet the incarcerated “You No.2,” the male who gives his side of the romantic breakup during a cryptic and histrionic 40 minutes. We gradually realize he’s an artist being held in a government mental institution for crimes against the state. The finale strives for an emotionally resonant Twilight Zone-style twist ending, but it doesn’t make much impact, like the rest of this synthetic play. [more]

Anatomy of a Suicide

February 23, 2020

"Anatomy of a Suicide"’s title is more than accurate as two suicides are depicted. Dramatizing such subject matter would usually be intrinsically harrowing. However, acclaimed British playwright Alice Birch is concerned with hollow technique rather than rendering fleshed out characters straightforwardly grappling with life’s travails. Instead, we get three women’s cryptic underdeveloped stories mashed together, enacted simultaneously, structured as short scenes in this 90 minutes play. It’s an unsatisfying minor exercise with flashes of emotional resonance. [more]

Halfway Bitches Go Straight to Heaven

December 17, 2019

Besides Mr. Skittles, there are 18 other characters of different races, ages, genders and sexualities. They’re a cross section of the downtrodden and those involved with aiding them. Ex-convicts, the homeless, an Iraq war veteran, drug addicts, battered women and their children, social workers, staff members, law officers, a trans woman who incites divisiveness, and a wily Catholic priest who once threw a man off the roof of a building are all vividly realized by Mr. Guirgis’ supreme command of dramatic writing. Each one of these many figures are majestically fleshed out, some in great detail. Guirgis goes beyond offering a loving mosaic of character studies by gradually injecting a suspenseful narrative that reaches a bleak yet hopeful conclusion. [more]

Sunday

September 29, 2019

Though off-putting, "Sunday"’s periodic non sequitur choreographic interludes become a respite from its bad writing and grating performances. For no discernable reason, characters stop speaking and engage in herky-jerky movements accompanied by crashing music and frenetic lighting. “A sort of frenzied dance. Think "They Shoot Horses Don’t They?" But perhaps slightly less macabre,” is the stage direction's description. The action then resumes. These tangents fill things out as the show is scant on plot. [more]

The Secret Life of Bees

June 27, 2019

Nottage’s book is faithful to the novel while at the same time reducing some of the melodrama and streamlining the story to reduce the number of characters to a cast of 13. Sheik’s score may be his most lush and melodic and the use of guitar and cello gives the music an appropriate folk feeling. The songs are a mix of gospel, R&B and pop which gives each of the main characters a song that explains their deepest thoughts. The rousing gospel numbers, “River of Melting Sun,” “Tek a Hol a My Soul” “Hold This House Together, “Our Lady of Chains,” make use of a great many beautiful voices in unison. [more]

The Mother

March 17, 2019

Huppert, the consummate actress, commands the stage at all times, making all the other performers pale in comparison. As Anne, she travels from familiar to sarcastic to manic to depressed to suicidal. Initially her heavily French accented English and her staccato rhythms are difficult to follow, but eventually it becomes accessible, even appropriate to this very French play. While the role does not require much action, Huppert has found all sorts of ways of building her character: stretching out on the sofa as if sleeping, playing with a cigarette, dancing with her son in manic fashion, examining herself in a mirror. Anita Yavich’s chic costumes fit her to perfection: the severe grey turtleneck and black shirt that we first see her in, and later the short red party dress with black stockings that looks like it might be a throwback to her youth. [more]

Blue Ridge

January 19, 2019

Ireland gives a big performance that is almost larger than life. From the moment we meet her, she commands the stage. Watch how intently she listens to the others or how you can hear her thoughts clicking away as to how to avoid the rules she doesn’t like. It is almost exhausting following her as she is always doing something with her hands, her body, her voice, her total instrument. This is the sort of complete theatrical commitment that makes legends and would be dangerous for an unstable performer. Try taking your eyes off her while she is on stage – you simply can’t do it. However, unlike her Alma Winemuller in last season’s "Summer and Smoke" where she made all of the other characters disappear, her Alison is held in check by the other actors who have their own axes to grind, pun intended. [more]

This Ain’t No Disco

August 7, 2018

"This Ain’t No Disco" is a compressed, zany look at the years in the 1970s that Studio 54 ruled the social whirl of New York City, complete with debauchery, drugs, loud music, semi-nudity and dancing (brilliantly evocative choreography by Camille A. Brown—herself no slouch with "Once on This Island" under her belt.) The libretto hews closely to the facts about the rise and fall of this mecca of A-list celebrities, including real people—Steve Rubell, Andy Warhol (here called The Artist)—and a host of fictional characters who represent a cross-section of the clientele, from pretty boy bartenders/drug dealers to undercover government agents looking for a chink in Rubell’s armor. The Mudd Club also makes a guest appearance as well as the homes of several of the characters whose mixing and matching drive the play. [more]

Hangmen

February 18, 2018

The sense of good, old-fashioned suspense is heightened by director Matthew Dunster, who also helps delineate the spot-on performances by the four remaining cast members--and regulars at Harry’s pub, with distinctive personalities--Billy Carter, Richard Hollis, John Horton, and David Lansbury. And then there’s the ongoing rain and lightning--with marvelous effects by Ian Dickinson for Autograph, for sound, and Joshua Carr, for lighting. Together, they add significantly to the scare factor of the evening. [more]

Describe the Night

December 15, 2017

The themes of Rajiv Joseph’s latest political play are not only valid but relevant in today’s climate. However, "Describe the Night" is too convoluted for its own good and attempts to make connections where none actually exist. While the cast led by Danny Burstein and Zach Grenier give solid performances, they never seem to develop in any way even though the play covers 90 years. Such momentous events as the Stalinist Purges and the fall of the Berlin Wall are treated almost in passing without their real significance being explored. Ambitious and epic in scope, Describe the Night becomes tiresome rather than enlightening. [more]

On the Shore of the Wide World

September 21, 2017

Neil Pepe’s production of Simon Stephens’ "On the Shore of the Wide World" will not please all. The pace is consciously slow – like the life lived by these characters. However, the wait is worth the effort. By the end when the family reunites for Sunday dinner, the play has become both powerful and poignant. The title, incidentally, comes from the next to the last line of John Keats’ sonnet, “When I have fears that I may cease to be” in which the speaker worries about missing out on love, fulfillment, fame and success, apt summation of Simon Stephens' play. [more]

Derren Brown: Secret

May 24, 2017

It quickly becomes apparent that Brown is a master at reading body language--no less than facial and vocal expressions--to manipulate the many audience-members who participate and to read their inner thoughts. Brown’s patter is also built on an almost glib sort of false modesty, such as his saying, near the end, “This only works because we are story-focusing creatures.” Any given interaction doesn’t “work” because we’re focusing on the “story,” but because he knows just exactly how to get us all to see only what he wants us to. [more]

The Penitent

March 10, 2017

Perhaps because Mamet-regular Jordan Lage is so effective as Richard, the scenes between Charles and his own attorney prove the most effective. While Laura Bauer’s sensible costumes do all they can to make her seem real, Rebecca Pidgeon proves robotic as Kath, detracting from her character’s constant bewilderment. (Come to think of it, maybe it was a stylized choice for playing the part, because of Kath’s befuddlement and uncertainty, at every turn.) The last scene is set in a rehab room, where Kath has been confined, following a mental collapse or nervous breakdown. [more]

The Band’s Visit

December 17, 2016

Seven musicians of Egypt’s Alexandria Ceremonial Police Orchestra have been sent to Israel to open the new Arab cultural center at Petah Tivah. Due to a mix up at the border, they end up in the dead-end desert town of Bet Hatikva which has no hotel, no culture, and no bus until the morning. However, their visit is the most interesting thing to happen in Bet Hatikva in years as these unlikely visitors represent something different from the outside world. Restaurant owner Dina (Lenk) once a dancer in a big city, now resigned to her boring fate, takes pity on them, feeds them and arranges for them to stay the night in three places including her home. She takes dour, formal conductor Tewfiq (Shalhoub) and young ladies’ man, Haled (Ari’el Stachel). Although the visit is only one night, none of them will ever be the same again. [more]

Marie and Rosetta

September 30, 2016

The two women size each other up, first by Sister Rosetta singing such gospel numbers as “This Train,” “Rock Me” and “Sit Down,” while Marie demonstrates her style with “Were You There When They Crucified My Lord.” Then they move into a series of dynamic duets, each one more robust and rousing then the last. Eventually they sing a few of the pop songs that Sister Rosetta has made famous: “I Want a Tall Skinny Papa” and “Four or Five Times.” A sleight of hand is their writing “Up Above My Head” together while we watch and listen to the song unfold as if for the first time. Lewis brings her powerful, full-bodied voice to her songs, while Jones has a smaller, mellower sound (the real life Knight was a contralto). However, when they join together in song, the results are glorious, and each duet will make you hungry for the next one. [more]

Hold On to Me Darling

March 31, 2016

In the hands of someone other than Timothy Olyphant, Strings McCabe might be a self-pitying monster too extreme to take seriously. However, this brilliantly accomplished actor has just the right amount of blarney to make Kenneth Lonergan’s "Hold On to Me Darling" one of the most satisfying plays in town. And you will learn a good deal about the lives of the rich and famous and how they get away with the antics they commit. [more]

These Paper Bullets!

December 27, 2015

In Rolin Jones’ re-do of "Much Ado," the soldier buddies have become a Beatles-like rock band called The Quartos, the first of many Shakespearean references. Continuing the parallels: Leonato (the always terrific Stephen DeRosa) has become Leo Messina whose Hotel Messina takes the place of the Italian town, Messina; his daughters, Bea (Nicole Parker) and Higgy (Ariana Venturi) are the Beatrice and Hero characters, whose romantic adventures with Ben (Justin Kirk) and Claude (Bryan Fenkart) (stand-ins for Benedick and Claudio), are the strength-testing plot-churners here as in the original. [more]

Cloud Nine

October 23, 2015

What is most remarkable about Caryl Churchill’s time traveling comedy "Cloud Nine" is that this prescient play about sexual politics and repression is now 36 years old, though it could have been written this year. Still a challenging gender-bending play, it asks us how far we think we have come from the Victorians in our attitudes about sex and identity. Set among the British in Africa during the repressed 1879 in Act I and back in England in liberated London in 1979 in Act II, the characters switch roles, genders and ages in the course of the evening. It isn’t obvious until the second half where the play is headed or how brilliant Churchill has been. Cloud Nine (which proves not to be a nirvana for the characters) challenges a great many of our strictly held beliefs about the way the world is or should be. [more]

Guards at the Taj

June 21, 2015

Rajiv Joseph’s plays are filled with emotional or physical violence as in "Bengal Tiger at the Baghdad Zoo," "Gruesome Playground Injuries" or "Animal out of Paper." His new play, "Guards at the Taj," being given its world premiere by Atlantic Theater Company, has both. Set in India in 1648, this riveting drama which works on many levels has been directed by Amy Morton, best known for her New York performances in Steppenwolf transfers to Broadway ("August: Osage County" and "Who’s Afraid of Virginia Woolf?"), and features Omar Metwally and Arian Moayed who are always commanding. [more]

Posterity

March 30, 2015

In Doug Wright’s "Posterity" at the Atlantic Theater Company two monumental cultural figures of 19th century Norway lock horns in a battle of wits and sensibilities with tragic results. Wright, who seems to have a penchant for writing about real people (viz. "Quills," "I Am My Own Wife," and "Grey Gardens"), here, takes on Henrik Ibsen, monumental 19th century playwright, and sculptor Gustav Vigeland, forty years his junior. [more]

Between Riverside and Crazy

August 1, 2014

This breakfast chat is in the opening of scene of Between Riverside and Crazy, by Stephen Adly Guirgis. In a series of plays that include Our Lady of 121st Street, Jesus Hopped the 'A' Train and The Motherf***er with the Hat, Mr. Guirgis has become known for affectionately dramatizing the lives of passionate, off beat, New York City characters with inimitably colorful dialogue. [more]